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DEAR SHELLEY ^©
MYTH # 1

by Shelley Bradley

You've heard lots of information, clichés, rumors and advice about the things you need to know once you're published. Published authors often find out this information from hard experience. After being in the publishing business for nearly eight years, Shelley Bradley has picked up a thing or two along the way. In this series of articles, she'll discuss the information she wish she'd known before she sold a book. She'll touch on what it really takes to get that first book bought--as well as the second and beyond, the realities of contract negotiation, royalties, distribution, editor relations and your career. Print publication primarily addressed, but electronic publishing also discussed.

Here's the first of our myths...

IF THE EDITOR LIKES YOUR BOOK, THEY'LL BUY IT

Bean counters, along with Sales and Marketing, run the show. This means that even with wonderful manuscripts editors fall in love with, if Marketing tells the publisher or editorial director that there's no market for an erotic comedy about a Elvis reincarnated with two heads (or whatever), that's pretty much it. When I go to conferences or see editors give their presentations at meetings and they say, "we'll buy great books we love," I always grit my teeth. That's only true to a degree. I personally have more than one rejection letter that says the editor loved the book and marketing said no. (Too sexy/too exotic/too thought-provoking...LOL. I always wondered if that editor thought that romance readers didn't think.)

What this means for you? Always, always write from the heart, since I truly believe it shows when you force yourself to write stuff you don't love. But... do so consciously. If you write away from the market, be prepared for rejection. Be prepared to wait longer for your book to be bought. Be prepared to come thiiiissss close--maybe more than once.

My best advice? Take a few marketable elements and put them into your plot, then really make it your own. This is how you often get "fresh" twists on "classic themes." Definitely be aware of where the publisher's boundaries are, however. If they say, "Absolutely no books set in Montana!" or whatever, I'd believe them, at least until you're more established and can afford to break a few rules.

Yes, this situation is totally frustrating for writers--and some readers, too. People who love this genre ask all the time why editors don't buy more original books. It's simple. Editors are supposed to find new talent but many are afraid to take chances. If they manage to sweet talk Marketing into letting them try the multi-headed Elvis reincarnation erotic comedy set in Montana and it flops...well, they fear it will mean the end of their career. So even though they may not be buying the coolest, neatest, most original works out there all the time, they are buying works that will make money and keep them employed. A caveat here: Not all editors are like this. Some will absolutely take chances and fearlessly trust their instincts. But like all businesses, you'll find your fair share of folks who like safety and want to stay the course.

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The complete 2006 Dear Shelley series:

Myth # 1: "If the editor likes your book, they'll buy it."

Myth # 2: "After you sell the first book, your editor will want to buy others from you quickly."

Myth # 3: "Once you're published, it's always easier to sell again."

Myth # 4: "Contracts aren't that hard to negotiate."

Myth # 5: "My advances will keep me cozy until my royalties arrive."

Myth # 6: "Your book will get quality editing and distribution."

Myth # 7: "If you want to know about print runs and distribution, all you have to do is ask."

Myth # 8: "Once you sell, your editor will always return e-mails, phone calls and read your material promptly."

Myth # 9: "Your editor will come back after getting married or going on maternity leave."

Myth # 10: "By my 10th book, I'm likely to be an NYT Bestseller."

Myth # 11: "A last few notes."