USA Today Bestselling Author of Passionate Historical Romance

 

"Selling Your First Novel"

The first sale. It’s such an elusive concept. Before I sold my debut novel, Prairie Bride, I used to watch newly published authors mingle at conferences or give workshops, and wonder how they did it. Why were they wearing that "first sale" ribbon? What did they know that I didn’t?

I could say it’s simple, but I won’t - because it’s not. Reaching a level where you’re ready to be published requires a willing journey through a long and sometimes arduous learning curve. There are numerous rungs on the ladder to publication and you must step on each one. Some are more important than others, some more difficult to reach, and it takes time. There are no short cuts. You can’t skip the learning curve.

But if you love writing romances, what does it matter if it takes a year or five or even ten? As long as you enjoy what you’re doing, it’s not a sacrifice. Those years are going to go by anyway, and if you give up - thinking it’s too hard or it will take too long - you’ll find yourself sitting around in five years wondering where you’d be right now if you had stayed with it.

My advice to you is: STAY WITH IT! The ones who do will be the ones who make it.

Having said all that, I can now look back on those six years it took me to sell, and identify a few of the ladder-rungs:

  1. I Started writing. I knew nothing. I wrote a whole book knowing nothing.
  2. I finished the book and entered it in a contest. That’s when I discovered I had a lot to learn.  I officially began my "education," which still continues today.
  3. I joined a romance writers group where I met published and unpublished writers. I learned something from everyone.
  4. I read books on the craft of fiction writing - books on grammar, style, voice, structure, conflict, setting, dialogue, revision, creativity, description, goals, motivation, characterization, emotion, as well as books that pertained to the genre. I devoured them all and learned a little or a lot from each one.
  5. I joined critique groups and learned about my strengths and weaknesses. This was over a period of six years and still continues today.
  6. I read books on the business - on manuscript format, queries and submissions, how to be your own agent, how to network at conferences
  7. I watched the market. I paid attention to the books that were coming out each month.
  8. I researched my time period.
  9. I attended conferences and took notes at workshops. I took part in editor and agent appointments. Some went well. Some didn’t. But I always learned something from it.
  10. I entered contests. I won two of them. (Most I didn’t win, but I received useful feedback and made contact with editors.
  11. I wrote short stories and articles, some of which were published. I gained writing credits that way (and a lot of rejections, too). The credits looked good on my queries to romance publishers.
  12. I read heaps of romance novels in the line I was targeting. (I joined the Harlequin Reader Service and received all the historicals for each month, and I read every single western they released.)
  13. I studied the writers I loved and tried to identify what I loved about them.
  14. I dreamed of getting "the call." (The dream is crucial to inspire you!)
  15. I conducted myself in a professional manner.
  16. I submitted my work. I wrote four books before the one that sold. (Lesson here: Don’t worry if your book doesn’t sell. Nothing is a wasted effort if you learn from it. Maybe you’re building inventory. On the other hand, my cousin rewrote her first book until it was perfect and it did sell - but take note, she didn’t skip any steps by doing this. She learned all the same things I did over the same six years.)

I received approximately twenty-three rejections over six years, some on proposal, some on query, some on full manuscript. Sometimes the publisher or agent requested more material (which at the time, I never considered a rejection), but in the end, the result was the same. The rejections were difficult, but I always picked myself up, took a deep breath and tried again. Prairie Bride, the fifth book I wrote, sold to the first publisher I sent it to.

I’m saving the final rung for last, because it’s the most important:

17. WRITE, WRITE, WRITE, THEN WRITE SOME MORE. You get better by doing it. Your voice needs time and "exercise" to develop, and every word, every sentence, every paragraph brings you one rung closer to the top. The more you write, the smoother your language will be, the more you’ll know about conflict, structure, grammar and all the other things that make up a publishable novel.

Are you doing some or all of these things? If so, you’re on the right track. Of all the people who begin the journey, many will drop off along the way. Those who are still persevering at the end will be the ones who have learned more, done more, and become better writers. They will be the determined ones, the persistent ones - the ones who will succeed. Good luck and never let go of the dream!

Copyright 2000 by Julianne MacLean
Chapters of Romance Writers of America are welcome to reproduce this article in chapter newsletters.  All others - please acquire written permission from the author by using the contact page

"How To Network at Conferences"

A few years ago at the national RWA conference, Mary Jo Putney humorously referred to her audience as “a room full of introverts pretending to be extroverts.”

How true, I thought, as I listened to the rest of her speech.  Writing is a solitary occupation, and for many of us, the business of schmoozing and mingling with other writing professionals comes along only once a year.  When it does, we put pressure on ourselves to perform.  How do we make the most of our conference experience?  The answer is simple: by getting those mingling muscles in shape.  Socializing is an art.  Some have a natural talent, while others have to work at it.  If that’s so, how can we learn.


The most important thing to keep in mind is your attitude.  If you hate walking into a crowded ballroom full of strangers, it will show.  So first off, be positive!  Decide right now that you are going to have fun, and you are going to act confident (even if you don’t feel confident).  You are going to walk into the room and shine.  Here are some tips on how to do it.

  1. Become charismatic.  Yes, it’s possible!  And it has nothing to do with being physically attractive.  A charismatic person connects with others.  They smile, they look into your eyes when you’re speaking, they are interested in what you have to say, and they respond appropriately.  They laugh.  They nod.  When you talk to them, they don’t look over your shoulder to see if there’s someone more important walking by.   They convey genuine pleasure in talking to you, and they appear to be having a fabulous time with you.
  2. Prepare some opening lines.  The best one is always a smile and “Hi.”  Here are some other suggestions:  “How are you enjoying the conference?”  “I see you’re from California...”
  3. Know how to make small talk.  Small talk is essential at professional gatherings, for it’s the first step toward discovering shared interests.  Have at least three pieces of small talk prepared.  Anything will do - from the weather, to the latest workshop you attended, to the food.  Reading the newspaper and keeping abreast of current events is a great way to become a good conversationalist.  But the sure fire way to keep things going is to ask questions and encourage people to talk about themselves.
  4. When you meet someone, confidently move forward for a handshake.   Make it firm, but not a vice grip.  Don’t just grasp the other person’s fingers.  Use your whole hand.
  5. Use the “buddy system” to your advantage, not your disadvantage - meaning, don’t just talk to your friend all night.  You can do that at home.  Instead, help each other by introducing each other around.  Try to split up at some point.
  6. In a mingling situation, initiate conversation.  This may sound scary, but if you’re uncomfortable with it, look for someone else who looks uncomfortable, too.  Seek out a fellow introvert who has backed themselves into a “wallflower corner.”  If you walk up to them and start a conversation, you’re reaching out to someone in need and also moving yourself away from the wall.  This is a great way to work up your courage and practice meeting new people.
  7. Avoid negative comments.  Never trash an editor, a publisher or a fellow writer.  Your opening line with a stranger should NEVER be, “This lunch looks terrible,” or “What a lousy conference this is.”
  8. Don’t be a nametag-noting-snob.  Remember that today’s anxious novice might be tomorrow’s bestselling author or high powered agent.
  9. Don’t intrude on other people’s conversations, especially if they look like they are very preoccupied with each other.  Try to gauge the intensity of their conversation.  If they’re just leaning against a wall, watching people go by, there’s a good chance you’re safe to approach.
  10. Prepare your story pitch in one intriguing sentence, so that if someone asks you what your book is about, you don’t bore them with the whole story.   I guarantee, their eyes will glaze over after the first fifteen seconds.  If you don’t have a one sentence pitch, get out a pen and do it now.
  11. In editor or agent appointments, keep the following in mind:- don’t bring your manuscript.- know who you’re meeting with and what they publish.- talk personal first; take a moment or two to ask the editor or agent how they are enjoying the conference.- ask intelligent questions, not lazy ones.  A lazy question is one that screams “amateur.”  It is a question you should have answered yourself before you came to the conference.  For example, “How long are your books?” or “How do I write a synopsis?”  An intelligent question would be, “What are your personal tastes these days?”- Don’t spend the entire time explaining all the plot points in your book; the interviewer will have a hard time following it.  Think “high concept” premise.  Try to pitch it in 25 words or less.


The most important thing at the conference is to enjoy yourself and the people you meet!  Put yourself and your smile out there, because doors always open wider for a person with a smile..  Information and inspiration for this article  gathered from:  “How To Work a Room” by Susan RoAne and “Networking at Writer’s Conferences” by Steven Spratt and Lee Spratt.

 Copyright 2001 Julianne MacLean
Chapters of Romance Writers of America are welcome to reproduce this article in chapter newsletters, as long as the end credit is given to Susan RoAne and Steven and Lee Spratt.  All others - please acquire written permission from the author by using the contact page

Target The Market(And Give Editors Exactly What They Want)
By Julianne MacLean

There are two ways to target the market when you submit.  One is to write the story you want to write, then figure out where it should go.   Another way is to study a line or publisher, and actually write something that is aimed directly, point blank at that line or publisher.  Neither way is better than the other.  You must do what is right for you.  (This workshop will focus largely on how to study a line, which will be useful no matter which way you choose to go.)  

First of all, what line or publisher is right for you?  To answer that question, you might want to consider the following :

  • When you’re reading, what’s your favorite line or publisher?
  • Think long term for your career.  Do you want to be known for steamy romances?  Or do you want to be a “sweet romance” writer?  Do you want to write big, fat single title books, or short category?  Would you like to start out in category, like Jennifer Cruisie, then graduate to single title?  (Always remember that long term decisions can change as you grow, so nothing is ever set in stone.)
  • What kind of voice do you naturally have?  After writing for a while, you might have discovered that you write humorous, light books.  Or maybe you’ve discovered you write dark stories with angst-ridden characters.   Or super steamy stuff.  Do you write mostly dialogue, or introspection based stories?   My advice:  Bloom where you’re planted and target a line that’s in your garden.
  • Is money a criteria for you?  If so, take that into account.  Some lines pay more than others.

*  *  *  *  *  *  

Next - and this is the most important part - study the line you want to write for.  Here’s what you need to do:


A.  I suggest reading ONLY that line and no others while you are studying it.  Don’t allow yourself to get confused.  All lines are different, and if you’re mixing Temptations in with your Intimate Moments, your overall level of familiarity with your targeted line will be diluted. 

B.  Take proficient, effective notes about the books.  I suggest doing this in a scribbler for 5-10 books in a row, then read 5-10 more without taking notes.Things to include in your recordings:

  1. Character notes (including jobs, romantic history, upbringing, personality traits, etc.)
  2. 2.  Basic Premise in one or two sentences.
  3. 3.  The setting.
  4. 4.  A list of secondary characters to get a feel for how many there usually are, and how many paragraphs are devoted to them and their development.
  5. 5.  Chapter summaries, including POV for each scene, basic external plot “happenings,” and development of the romance.  (This will help you get a feel for the balance of external plot vs. romance in your targeted line - a very important thing to know!)
  6. 6.  Make note of how many loves scenes there are and when they occur.
  7. 7.  Keep a page for general observations you have while reading the book, i.e. things you notice about the style of story, how much introspection there seems to be vs. dialogue and description.  Feel free to jot down anything here.
  8. 8.  Take notes INSIDE the book.  Circle passages about the attraction, to get a feel for how often it is referred to, and how steamy or sweet it is.  (Do they ogle on every page?  Do they ogle right away on page one, or does the ogling not start until chapter three?  Are there lots of physical/visceral reactions, or is the attraction more introspective/intellectual?)  Also circle passages about characterization, or backstory, to get a feel for how much is revealed and how soon.

C.  Make a list of ALL the releases for that line for the past year.  Include the book title and date, and a brief summary of the story concept.  (I made my list from the reviews in RT magazine, which lists all the releases each month, along with a brief blurb about the premise.  RT is accessible online.  Just do an advanced search by “series”.)


Look over all those titles and types of heroes/heroines, and look for consistencies and trends. (For example, are all the heroes rich powerful men?  What types of settings are typical?  Are most of the plots woman in jeopardy plots, or secret baby plots, or sheik plots?  Will your story fit here?  Or if you’re targeting first, use this list to come up with a title and plot line that nails what they like to publish.)

*  *  *  *  *  *

Other things to consider:

  • Be your own devil’s advocate when coming up with plot ideas.  Try to think of the reasons an editor wouldn’t go for a particular element of your story, then tweak it or come up with something else.
  • Scene vs. Sequel - how do most of the books measure up?  More sequel?  More scene?
  • Who does most of the “growing” in the books?  Is it usually the hero’s arc or the heroine’s?  Maybe it can be either one, or both.
  • How many chapters do they each have?  How long are the chapters?  How many scenes per chapter, on average?
  • POV - How many scenes are in her POV vs. his POV?  Are there ever switches within scenes?


*   *   *   *   *   *

To sum everything up, knowing the line you are targeting is an absolute must.  Sending something inappropriate for a line is waste of your time as well as the editor’s, and you might as well save yourself the postage.  And I can’t stress enough how important it is to have an in-depth, thorough understanding of your line.  Don’t just have a general knowledge.  Know the line as well as the editors themselves.  If you give the editor exactly what she’s looking for, you might just find yourself the next new author on her list!