What happens after a publisher accepts your work?

There are millions, if not zillions, of articles for unpublished writers, but what about for those people publishing their first novel, who don’t know what to expect? There are a lot less people whose work has been accepted by a publisher, so I guess less people can write about that with any degree of authority, not to mention the fact that less people want to know about it. I thought I’d start with talking about what happens after a publisher accepts your work for publication, giving people an insight into the publication process.

If you start by sending in a proposal, they will read over the proposal and they should either accept your proposal or decline it. If they’ve accepted it, they may suggest changes to make it more marketable. Mandatory changes should be made clear. After you have your proposal back, you can get on with writing (unless you’re really naughty like me, and start writing the bits you know will be fine while you’re waiting to hear back from them).

If you didn’t send in a proposal, you’ll either send in a sample first, or just a complete manuscript. If you did send in a proposal, the next thing you send them is the full manuscript. Make sure you’ve done as much editing as you can to the manuscript before you send it to them; I found this very, very difficult with my first book because I had no idea what needed doing to it. After they’ve got everything, it gets sent to a line editor. The line editor’s job is to go through your work and write notes on any improvements you need to make to your work; some improvements are optional, but some are mandatory. If you’re unsure about whether a change is mandatory or not, ask your editor and they will tell you one way or the other.

Once they’ve written those notes, they will send you back the annotated manuscript, or they’ll send you back the notes separately, and your job as the writer is to make the changes and improvements to your work. Some places give you deadlines for this, others don’t mind. After you’ve made your improvements, they will send your work to a copy editor.

The copy editor is the last person from the publishing house who will see your work; they go through it and format it to in-house style guidelines, and they generally use the Merriam Webster dictionary and the Chicago Manual of Style as a reference for anything that’s questionable. They will also flag up typos and spelling and grammatical errors, inconsistencies (one minute she wears a red hat, the next minute she wears a blue bonnet), and factual errors. After they’ve done that, you should get your work back, at which point you either have to make the copy-editor’s changes or you have to have a damn good reason (“I don’t like that change” isn’t one) to reject their changes – the Big Five Publishers, and some of the smaller ones, will usually expect you to give references to support your reasons for not approving every change made by the copy editor, but check this before sending back reams of information, because some places don’t want that (my current publisher doesn’t). When the copy editor gets it wrong, you need to raise that with someone at your publisher (or get your agent to do this, if you have one).

Once you’ve approved or rejected (with references) the copy edits, you send the work back to the publishers and they start work on the cover. After you’ve seen the cover, it’s natural to get very excited about your forthcoming book. If you like the cover, let them know, and they will get the blurb written and the proofs made up, or if they’re an ebook publisher, this is when it will be prepared to be made available online.

At some point before the book is made available online, you should receive a contract (if you haven’t received one, let them know). The contract is the only thing that protects you from getting royally screwed over by your publisher, so read it carefully and get a lawyer (one who has seen other book contracts, not any old lawyer) to read it over if you’re unsure about anything. Sometimes publishers try it on with their contracts but you have to stand your ground, otherwise you’ll regret it when the book’s a bestseller and you’re not making any money. I got taken for a ride by one publisher, a few years ago, who published my unedited work, lied literally every step of the way, and never paid me the advance. Later, when I tried to get that sorted out, I discovered that I would have to go to somewhere on the East Coast of America to take them to arbitration to get my money back, and that I had to do this within a certain time period, which I’d missed, because they’d spent so long delaying in answering and I’d been too patient. If I’d understood this beforehand, I would have acted sooner to get it resolved, but it was my first book and I didn’t know what to expect from the publication process (hence this article).

If you’ve signed the contract AND RECEIVED THE ADVANCE (if you are in the habit of accepting advances – I am not) then you’re good to get excited about the release date. Many contracts have a clause stating the author must do their best to publicize the novel – there are a bunch of ways you can do this and I’ll talk about them in a future article.

Has your experience of the publication process been different? Let me know in the comments!

The editor ruined my book! How to deal with a toxic publishing environment.

Ninety-nine percent of all copyeditors are professional, intelligent and work focused individuals who add to your book and help it shine before publication.

At publishing houses, the copyeditor is usually the last person who sees your book before it is published. This means they have a huge responsibility to ensure your work is top-notch. I’ve worked with some amazing editors and publishers in my career as a six-figure author across five pen names spanning four genres.

This is a story about a time when that didn’t happen.

It was my second published book through this specific publishing house, and I’d already had some issues because the publisher himself was an arrogant, woman-hating a-hole who sycophantically gave all the advantages and promotional opportunities to older women who (I guess) reminded him of mommy dearest, and sidelined all other books.

He was a white supremacist conservative Christian hypocrite who didn’t drink or have sex before marriage but ran a small-time erotica outfit. Go figure. He even whitewashed my books, transforming black characters into white ones and telling me what skin tone my characters had to be. He rejected any story idea with a strong female character or a plot that wasn’t a rewrite of the three most successful books that publisher had ever released. And he was a control freak.

Naive and desperate to succeed as I was, I thought I had to accept all of this. I also didn’t really know that I could send my books elsewhere, because I’d had a terrible experience with another publisher, too.

Hilariously, I know of at least two novels where he was portrayed as the main antagonist. I wrote neither of them. The working environment ticked every single box in this article. Basically, the only way to leave was to go non-contact with him and his brainwashed fan authors, all of whom are presumably either old, high, or pretending they adore his work to get better marketing for their books. Or scared of being eaten alive by each other.

Sadly, I also know of more than a handful of authors who stopped writing completely because of his attitude and behaviour, and that of the people around him. They simply lost confidence in their (profound) abilities and gave up.

Dealing with a toxic publisher is a lot harder than dealing with a toxic boss, because in the author world, your work is contracted for a fixed term, whether you like it or not. No matter what fallings-out you have, short of spending a lot of money finding a legal loophole in your contract, you are at the mercy of the publishing house and they will keep your work and screw with it if relations turn sour.

There is no way to prove how much your books are making across various sales channels, Amazon will not release those figures to authors, and publishers can basically report whatever they like, a practice that goes on much more than anyone knows, especially when currency exchange and Paypal are involved.

If your publisher doesn’t like you, depending on your publishing contract, they can decide your work goes out of print (so it’s no longer on sale) while they still retain the rights. Far easier for them is making your book look so unprofessional and boring that no one buys it. This is the preferred MO of most toxic publishers.

It’s not hard to publish a book when it’s your job and you release 10 or more in a week. It’s not hard to design a cover for a professional graphic designer. It’s not hard to write a blurb for anyone who didn’t write the book which the blurb is about.

But the easiest job of all for someone who can spell and owns a copy of the Chicago Manual of Style? Copyediting. If you’ve ever wondered why some genres of books (namely, romance and steamy romance) are so badly written, it’s not necessarily the fault of the author. Bad copyeditors introduce errors into books and they even rewrite passages to revert your writing to a clichéd, hackneyed load of rubbish.

But the very worst editors only skim your book, miss large parts, and somehow still see fit to comment to say your continuity doesn’t work when actually it’s all correct. And the hopeless ones don’t want to know they’re wrong. In fact, hopeless anyones don’t want to know they’re wrong.

At that point, you know it’s a waste of time bothering with them because you’re not going to inspire them to suddenly give half a hoot about their work. They don’t care, they’re making it obvious. They’re probably also high. It makes you wonder why they’re being paid to do anything. I still haven’t figured that out.

In the worst copyedit I ever received, “sit” was changed to “shit” (she was absolutely sitting, not using the bathroom). “Hare in the headlights” (semi-fresh) was changed to “deer in the headlights” (cliché) and two character names were arbitrarily swapped around for a whole scene. That was the tip of the iceberg.

The copyeditor had completely rewritten large parts my book after I’d last seen it (which was at the end of the line edit) and because this was a small press, they didn’t follow normal procedure and I never found out about any of this until 2 months after the book was published, when I opened it to check a scene for something I wanted to write in a subsequent book in the series.

In some places, the copyeditor had reverted things that the line editor had told me I had to change in order for the book to be published. She was a loose cannon, just doing her own thing, and no one stopped her.

I’ve read a few books from that publishing house and honestly, all of them have random big errors like character names changing for a chapter or sentences stopping half-way through then jumping to a new scene.

If you’re in that situation, you have two options. The first choice is to say nothing for an easy life with that publisher, then go indie or switch publishers as soon as you can. For some people this will be really straightforward. Others might struggle.

The second choice is to make a complaint to the publisher and inform them of every errata in your book, requesting it to be fixed. If the publisher is the sort that I was dealing with, they won’t want to know. The one I had this problem with actually did not know what the Chicago Manual of Style was. Nor did the copyeditor, apparently.

I genuinely regret trying to address this but I stupidly thought any publisher would care about the quality of work they were putting out. Since my experience, I’ve come across other publishers where similar things have happened. One cut down a 25,000 word story to a 10,000 word story and left in random scenes from a story arc that now no longer made any sense. Another simply published the books unedited, which is another common practice in steamy books.

It can be troublesome when you’re hiring an editor for an indie project, too. I had one editor who added “ossicones” (despite it being so far out of that character’s ken that it was ridiculous) but missed “jumper” instead of “sweater” and other Britishisms (wardrobe, trainers) in an American story set in America.

I worked with another who didn’t start editing until the day before my preorder locked on Amazon, despite having been given the manuscript and payment in full two months earlier. She thought actions needed dialog tags. I had to go back through and change them all back.

These people charged me money for these edits and I had to pay them because editors have a lot of power in the writing community. Their anonymity means they can write fake one-star reviews of every book you ever wrote if you annoy them. As can publishers, editors and their friends and relatives. Amazon doesn’t care when this happens, despite what they claim whenever fake Amazon reviews get news coverage.

Some people are completely reprehensible human beings.

But at least in the indie market, I’m not handing over half or more of my book money to a scammy “publishing” outfit whose sole purpose seems to be to write the same book over and over again with different titles and covers.

My advice to anyone trapped with a toxic editor or publisher is to smile, nod, and fulfill the bare minimum of your publishing contract then flee. If you haven’t signed a contract yet, withdraw the book and run for the hills as politely as possible. If they are a narcissist, let them think they have won. As hard as it is, let them have the last word in any exchange that can’t be resolved to your satisfaction. But give them nothing more.

And if you’re looking to become an editor, if you can spell correctly and know how to check the Chicago Manual of Style, you’re ahead of the crowd when applying for jobs with a small press.

Have you ever had a copyedit from hell or dealt with a scammy publishing house? I firmly believe it’s a rite of passage for all authors, as sad as that is. Let me know about your experiences in the comments!

Thursday Writing Prompt: Reflection

Welcome to my new Thursday writing prompt! Today’s writing prompt is “reflection”. If you care to participate, write 100 words about a reflection. It could be literal or metaphorical.

Here’s how to take part:

  1. Write a post, including your 100 words about this week’s theme, any words of explanation or inspiration you wish to share, and a link to this challenge page.
  2. Comment on this post with a link to your page so others can see your contribution.
  3. That’s it! Super easy.

This challenge will stay open for one week, then next Thursday, I will post the next challenge!

Writing targets and burnout

How many words does a professional writer type in a day? What if they get burnout? How do I set a writing target? These are all going to be answered in this article.

Sometime a few years ago, I stopped being an unemployed person who also wrote a blog and I became a writer. It was a gradual process and it’s still not a bombproof career – it only works if I keep releasing books, writing blog posts, and sharing these on social media and in my author newsletter. I believe this is the case even for James Patterson although his income is obviously several orders of magnitude greater than mine.

That means I have a target for how many words I write every day.

It started when I was living in China and I was contracted to a publisher to get 1 book to them every 3 weeks. On top of that, I had my own projects I wanted to write and self-publish. A lot of the time these days, I don’t have enough words left over at the end of the day to write my blog which is a shame.

At the height of my productivity to date, I was writing at least 4000 words a day. In fact, four thousand was a bad day. On a good day, I could do 8k or more and I worked 12-16 hours a day, taking long breaks only to cook or shower. After about forty published books, I am working at a point where those words usually only need one or two rounds of edits to be publishable.

It all got a bit too big and unmanageable around late 2018, when I found out I was pregnant. The first trimester hit me especially hard. Due to pregnancy concerns, and the hormones making it impossible to think clearly, my productivity plummeted to about 2000 words. It felt like I was working through treacle. At the time, with my bipolar misdiagnosis (I don’t have bipolar, I have ADHD and PMDD), I thought my productivity was linked to mania/depression, although I now know that’s not the case.

After I had a baby, I thought things would get better, but then I was lost in a mist of severe post-natal depression that kept coming in waves, so every time I thought it had lifted, it came back again. At first I thought this was writer’s block, but I had no shortage of ideas, I just couldn’t execute them.

There were weeks at a time when I couldn’t write anything at all. Not a book, not an article, and I withdrew from social media completely. I became a recluse because I couldn’t handle the pressure from all the things I’d been so good at, which were now on fire.

I. Was. Burned. Out.

The trouble is, like depression, it’s hard to recognize true burnout until you’re so deep under the weight of failed commitments and broken promises that you’ve drowned and they’re fishing your blue corpse out of the river you used to float on top of.

I had to get rid of every pressure, every target, every expectation, that I or anyone else had of me. I had to stop doing and just be. Lockdown didn’t help. I took up running. That helped.

Like a snowdrop poking through the snow I finally started to emerge after about a year. The storm was over. I had survived even though there were many times when I thought I hadn’t.

For about six months now, I’ve been writing again. Some days, more words come out than others. There’s also the constant pressure of needing to drop everything whenever my baby needs something. And trying to hash out a fair arrangement between my husband and I, since we are both working from home.

I have realized that even 1000 words a day is enough to release a 30,000-word book a month (luckily the romance genre supports this length of book), and 1000 words is about an hour of effort (a little over an hour). So now, my target is 1000 words a day. This means at the bare minimum I am writing enough to pay the bills, and if I have time to write more, then great, it can be a more satisfying book.

Even releasing one book every two months will pay for the bare minimum, as we have no mortgage or other big loans (and we are ninjas with a food budget), but to save for bigger and better things, a book a month is optimal (Craig Martelle, founder of Twenty Books to 50k, suggests that rapid-release brings in more money for all the books in a series than releasing on a slower schedule).

I don’t have the luxury of writing that mystery that’s been on the backburner for about 9 months, yet, but if I keep plugging at 1000 words a day, I will get there. And one hour of work time a day is really not that much to ask of my family. In an ideal world, that would be one undisturbed hour in a room of perfect silence, but as anyone with kids knows, that’s not how life works as a mother.

Usually, that’s an hour while my little jellyfish watches car videos on Youtube. I make up for it by taking him outside for a walk and to splash in puddles before or after (or both. He loves splashing), and playing cars with him when it starts to go dark. I was worried about letting him watch TV when he was a lot younger, but now I realize that was unrealistic. As long as the shows are chosen with care, the television is a key weapon in the parenting arsenal. Like any weapon (such as an adjective, adverb or flashback scene) it must be used sparingly.

My point is, if you want writing to be a career, rather than a hobby, you have to set yourself an achievable, realistic goal and make yourself stick to it. Recognize your limits and go easy on yourself. Don’t do what I did and push yourself past the point of not being productive. “Pushing through” burnout is nonsense. It’s a lie spun by people who want you to fail, or who never experienced genuine burnout.

No one ever wrote a book by… not writing.

Goal setting advice for finding your word count and making it stick:

  1. How many other commitments do you have? How much free time do you have? Don’t overestimate all the time spent in between other things. If it’s dead time, such as sitting on public transport, you can use that to write. If it’s time spent driving or similar, don’t count it as free time.
  2. How many words can you realistically write in an average (not perfect) hour? 200? 500? 1500?
  3. Now do some math. Don’t fill every waking hour of free time with writing, unless your lifestyle supports this. Your laundry still needs folding (although I use speech-to-text when I’m doing tasks like this in a quiet house). A good rule is to start by setting yourself half an hour or an hour a day of absolute ringfenced time to write.
  4. You can’t control other people or their interruptions, problems etc. You can tell them that if it’s not bleeding or on fire, not to bother you, but they might still, especially if they crawl or toddle and don’t understand words yet. Embrace the distractions when they are unavoidable, be present with the people who need you, and come back to writing. As Barbie says, positive attitude changes everything. If you spend all your interruptions stressing, you will return to your desk stressed. If you spend your interruptions generously, with the intention of helping people, you will return to your desk feeling good.
  5. Have a dedicated work space. Actually use it. I have a terrible habit of working on the sofa. I am more productive at my desk. You are too. It’s basic psychology. You spent all your youth being conditioned to work at a desk by schools.
  6. Plan your work before you start writing. Know what you want to say. Whether you’re a plotter or pantser, this is going to help you stay focused during writing sessions. You don’t need to know every fine detail, but some vague info will mean you spend your writing time typing rather than thinking.
  7. Never edit until the book is finished. Don’t waste your writing time stumbling over what you want to say. Write cliches, misuse the subjunctive, use twelve adverbs to a sentence. You can unpick it all later.

You can do it! The main thing is to get writing and keep writing.

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