THINGS I’D WISH I’D KNOWN BEFORE GETTING PUBLISHED: by Kathleen Morgan

To be a published author is the dream of many, yet a dream that eludes most aspiring writers. Still, every day new dreamers begin their first book, unable to stem the flood tide of storytelling welling within them. They can’t help themselves. They just have to. And everyday some dreamer, somewhere, finally succeeds and gets that long-awaited, hard-earned phone call from an editor asking to buy their book. Frequently, though, in the drive to write and sell, an author fails to learn the valuable lessons so desperately needed to survive in this wonderful, crazy business.

It takes more than talent

What must be overcome in order to be a successful writer? First, you must discard unrealistic views or goals (including over-inflated egos). This profession takes a lot of hard work. It’s not a business for everyone, in fact, it’s not for most. Secondly, you must discard the illusion there’s a secret or formula to writing. The only formula is a lot of hard work, performed mainly by sticking the seat of your pants in your chair and writing, writing, and writing. Are you a "wannabe" (wants the secret, the shortcuts, and thinks there is a secret) or a "gonnabe" (the professional writer from the start. In it for the long haul and willing to give the craft what it requires)?

It’s also very difficult if not impossible to try to learn it all the hard way, without guidance, mentors, groups, books, and organizations. Join a writing group of other serious, dedicated writers. Attend writers’ conferences. Read good books on writing, and study books written by your favorite authors, as well as the kinds of books you want to write yourself. Be willing to objectively assess your writing and listen to what other writers have to say about it. That said, though, know your story well enough that someone else doesn’t rewrite it for you with all their suggestions. Use what’s useful from other’s feedback, and discard the rest. In the end, it is your story after all.

Don’t break rules until you know them well, and how they can be broken. One writer’s rules aren’t necessarily always another’s. Keep your ego out of the story. It’s the story that counts, not getting your strokes. If you need a lot of strokes on a regular basis, this isn’t the profession for you. Don’t try to force yourself to write what you don’t truly love to read, write, or respect. Believe me, it’ll come through in your writing and your readers will soon pick up on it.

There are dues to be paid—either before you get published or afterwards. "One book wonders" are writers who quickly sell their first book, but have yet truly to understand why that book succeeded, and are unable to replicate that first success (i.e. no more sales, or a long time before the next sale, wherein they finally DO learn what the elements of a successful book are). There are no free rides, no matter what other authors, books, or writing organizations lead you to believe

You learn by writing, and writing, and writing… (Can I say that too many times? I don’t think so.) I once read somewhere that it takes writing one million words to get published (I’m thinking, though, that might be a tad understated). You definitely need to complete at least one manuscript to even begin to scratch the surface of knowing what truly goes into writing an entire novel (my definition of a "real" writer). You also need to begin to learn your strengths as well as weaknesses. Only then, can you strive to exploit your strengths and minimize your weaknesses, and believe me, all authors have both.

There are myriad learning styles and ways to approach the task of writing. Planners are generally writers who work everything out in advance. They also tend to write the story chronologically. Plungers usually begin with a minimal story idea and plunge in and see where the story takes them. They frequently write scenes and even chapters that catch their interest/enthusiasm even if the scene/chapter is a long ways off yet in the story chronology. Either way works, just as long as it suits your approach and temperament.

From the start goals, both short term and long term, are important. Why do you want to be a writer? What do you want to write? How’s the market for those kinds of books? Where do you see yourself in one year, five years? What do you realistically expect from a writing career? What do you ideally expect?

To achieve these goals, however, you must first begin by finding time to write—this is a job, isn’t it? Work with your biorhythms—if you’re sharper in the morning, write in the morning (and if you’ve a full-time job, that might mean working in the very early morning). If you’re a night owl, then write in the evening. Negotiate with your spouse and family to carve writing time out of the day for you. Choose writing—over TV, hobbies, an immaculate house, etc. Stop making excuses! Invest in your writing time—get a computer or word processor over a typewriter, a baby sitter several times a week, someone to mow the lawn, etc. This investment can also include attending valuable writing conferences or critique groups, buying books for research. Sacrifice a little extra sleep. Find a special place to write, away from distractions, that’s conducive to writing. Head phones, background music, caller ID or an answering machine, etc. can be invaluable in the right circumstances.

Study and understand the particular market you wish to write for, then apply that knowledge to how you conceive and write your books. Keep abreast of the market and its changes, needs, etc. Get a copy of Publisher’s Weekly, Writer’s Digest, The Writer, Literary Marketplace, etc. Consider getting an agent, but always remember that a bad agent is worse than no agent at all. Network with other writers regarding their agents, why they like them, what don’t they like. Beware of acquiring an agent through the mail. Watch out for beginner agents (check out credentials). It’s frequently easier to sell your first book yourself than get an agent to represent you. Watch out for agents who’ll take you virtually sight unseen because you’re published or have just sold your first book, or just won a prestigious contest, without even reading your book. Meet with and/or listen to every agent you can at conferences to get a feel for them, what you do and don’t like, etc. Remember, you’re hiring them, not vice versa. You have the right and duty to interview them, too. Just be polite and professional.

Contracts are legally binding. Even if you have an agent, learn as much as can about contracts and keep on learning as publishers are constantly throwing in new clauses/twists (even from one contract with the same publisher to the next one with them). You sign the contract; you’re ultimately responsible, not your agent. Anything you agree with on the phone with a publisher is considered binding, so when you get that first phone call offering to buy your book, don’t agree to anything. Thank them and tell them you’ll get back in a day or two. Then call all your writing friends and look up all that stuff on contracts you’ve been filing away for just a day such as this.

Editors are notoriously overworked and underpaid. Hence it can take from 6 wks to 6 mos. or longer to hear anything. You can query—not call—after 3 mos. to check on the status of your submission, though. There are many steps in the decision-making process of whether to buy or not buy your book. First it goes to a reader, then a junior editor, then a senior editor. If a senior editor still likes your book, she presents it to the editorial board (which includes the marketing department). If they continue to like the idea, setting, marketability, etc. of your book, they figure out how much they can afford to offer you. Then the editor makes that long-awaited call.

If, however, your book is rejected, there’s something to remember about rejection etiquette—i.e. you will be remembered, so always be civil no matter how hurt or angry you are. It’s best just to pick up the pieces and move onto further revisions or the next book. The publishing world is a small world. Editors move around a lot! Show your true colors as a professional and don’t reply to a rejection letter with another rejection letter (Yes, some people do go to interesting extremes in their pain over a rejection). Always be courteous in your reply, or don’t reply at all (generally this is the best course with an obviously form rejection letter).

Be careful whom you talk to about what. Gossip can and does get back to the wrong person in this business. Editors do talk to each other, you know. If you have an agent, use him/her to run interference when you’re upset with someone at your publishing house. You did hire your agent to do more than just sell your book, didn’t you?

Don’t act on your first impulse when you’re upset. Allow yourself time to mull things over, and distance yourself emotionally. My rule of thumb—take at least one day. You don’t have to agree or disagree on the spot. Tell them you’ll think it over/give their comments careful consideration, that you’ll call them back. Compromise can frequently be the best you’ll get. However, you know your book best. Some things can’t or shouldn’t be compromised. It’s best, though, to pick those special battles with care and much forethought.

Learn to develop a thick skin. You need stubborn perseverance and a firm conviction that you have a story to tell that’s worth telling. Try to avoid self-defeating behaviors such as comparisons and competitive jealousy. Share and learn from other writers/(no one but another writer truly understands). Be happy for other writers’ successes, so you’ll deserve their happiness for you when you succeed. Try always to comport yourself with graciousness and honor. Don’t sell your soul for a writing career, or do so at another’s expense.

Watch out for a sense of isolation, lack of feedback, and self-doubt. Conversely, too much information (especially if it’s depressing) can be self-defeating and even can emotionally hamstring you as a writer. A fear of failure/fear of success can also be a barrier for some people to a successful, long-term career. Plan to be in it for the long run—it takes time to gain mastery of any creative craft. Instant bestsellerdom shouldn’t ever be your primary goal.

Watch out for agent problems—them not doing their job, they may finally reject you, or your career requires you to move on to a bigger agent. Get used to waiting. You’re going to be doing a lot of it. And learn to be proactive with your career—with your agent, editor, publisher, in your eventual self-promotion, in adapting your stories to the times, with market demands, and your needs as a writer.

To succeed in the writing business, you must have a vision, a dream, and then you must follow it with all the tenaciousness of a bulldog. You should envision your writing career as spanning twenty, thirty, and even forty or more years, and plan accordingly. Instant bestsellerdom, and fame and fortune, isn’t the way for the majority of us. There’s a lot to be said, though, for a slow, steady growth in sales and a devoted, quality readership. That next story begging to be written should be what keeps you writing. To be successful, famous, rich, and/or to hit the NYT’s bestseller list are admirable dreams. In the end, though, the only thing you can—or should—depend on is that you’ll always write—because you have to, because you love it.

Copyright 1996 by Kathleen Morgan