Professional Writing Workshops at HollyLisle.com
10/12/01 -- How to Break into the Romance Novel Market (Continuation)
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<@SLViehl> Welcome to "How to Break into the Romance Novel Market" with
yours truly, S.L. Viehl, aka Gena Hale, aka Sheila
<@SLViehl> you've all heard the rest of the intro so we'll skip that
<@SLViehl> The last time we met, we discussed a number of topics
<@SLViehl> covering the basics of what is and is NOT a romance novel
<@SLViehl> the statistics of getting into print
<@SLViehl> how to present your work and yourself to an editor
<@SLViehl> the pros and cons of unagented submissions versus attending
romance writer conferences
<@SLViehl> Why you should -- or shouldn't -- consider getting an agent
<@SLViehl> and a little about what's selling, and what bestselling authors
are doing
<@SLViehl> Welcome, Natalie.
<Natalie> Thanks. Sorry I'm late.
<@SLViehl> Tonight we're going to pick up where we left off, with Networking
<@SLViehl> No problem
<@SLViehl> I'll cover the material, then put up the word QUESTIONS
<@SLViehl> and that's when I'd like you to throw everything at me.
<@SLViehl> I'm going to try to break more frequently so you have a chance to
ask more questions
<@SLViehl> ready to get started?
<BlairB> ready
<Gayle> yes
<June> All set
<Anne_Marble> Sure
<Kae> gtg
<spring> ready!
<Natalie> yes
<James> yes...
<@SLViehl> Romance writers are probably the most consummate networkers in
the publishing industry
<@SLViehl> we are a force to be recokoned with in this department, starting
with RWA, which is over 8000 members strong
<@SLViehl> trickling down to your local writing and critique groups
<Gayle> sorry, got go maybe back later
<@SLViehl> bye Gayle
<James> See you Gayle.
<@SLViehl> With all these men and women writing romance, and obvious open to
networking, this should be a good thing for you, right?
<@SLViehl> Sometimes it is, and sometimes it can work against you. Remember
that writers are basically lone wolves.
<@SLViehl> When you enter into a group -- just like this one here, that
we're having tonight -- there are different levels of competency.
<@SLViehl> People who are less competent than you are going to recognize
that pretty quickly.
<@SLViehl> Be cautious when networking. Try to find out if you fit in with
the group before you commit yourself to their chapter, critique sessions,
etc.
<@SLViehl> If they're all unpublished and have only written one or two
novels, and you're on your tenth and getting your first contract, there may
be resentment and even worse.
<@SLViehl> On the other hand, the group may be totally supportive.
<@SLViehl> Published authors you meet in these groups can also go both ways.
Some will take an interest in you. Some will take an interest in how many
of their books you're going to buy.
<@SLViehl> Published authors are good for advice, but don't expect them to
get warm and fuzzy with you right away.
<@SLViehl> Go to their booksignings, talk to them casually, show an interest
in their work. Most will return the favor.
<@SLViehl> Anyone who knocks you and/or your work constantly is not worth
your time.
<@SLViehl> You need to, in the words of Susan Elizabeth Phillips, always
PROTECT THE WORK.
<@SLViehl> You can get swept up in the mystique of being an author,
especially after you land a contract, and this slows or stops your
productivity.
<@SLViehl> Money you should have been investing back into the work goes down
the drain with promotion and conferencing.
<@SLViehl> Groups, activities, community -- all these things are fun. If
you have time after you're done writing.
<@SLViehl> On the flip side, getting into a group or community gives you an
opportunity to make contacts.
<@SLViehl> Right now, you're in contact with me. I'm published. I'm a good
contact to have.
<@SLViehl> Can I get you published? No. Can I give you advice? Yes.
<@SLViehl> Can I be your best friend? Sorry, not enough time on my end.
<@SLViehl> The best you can hope for from networking is making contacts,
getting educated on the industry, and a mixture of advice.
<@SLViehl> Go with what your heart (or your stomach) tells you works best
for you.
<@SLViehl> QUESTIONS
<June> Promotional materials -- good idea?
<June> or not?
<Anne_Marble> What about joining reader lists? I know (of course) a lot of
writers who do that. Some because they love to discuss books, others because
they want to send out promos. (That's not always allowed.)
<@SLViehl> I have completely stopped doing my own promotions after a year of
trying them out. My books are selling just as well, actually, better now.
<James> As an Australian aiming at the US market - therefore, also an
optimist
- can a career be built without making lots of contacts in the
market you're aiming at?
<@SLViehl> Most authors are shameless self-promoters. You've got to do what
you're comfortable with. I was never comfortable with promotion stuff
anyway.
<@SLViehl> I think so, James -- you have to take a different approach to
making contacts. Like being here -- doesn't matter geographically where we
are, we can meet and discuss things.
<@SLViehl> A career should be built on the strength of your writing first,
imho.
<@SLViehl> I also don't think most of the promotion stuff works. All those
give aways at RWA Nat'l, for example. Who could buy all the books for every
piece of promo they pick up?
<James> Thanks - that does away with a small worry I've been carrying
around
<Anne_Marble> Someone on my list recently asked which promotional material
got people to read books, bookmarks, magnets, or something else. People
pointed out that it was recommendations, reviews, writing...
<@SLViehl> If I read a great article by a writer, I'll go buy his/her books.
I agree with that/
<@SLViehl> the bookmark/postcard thing is a vanity, again, imho, it just
doesn't work.
<@SLViehl> I also like reading stories in magazines, and will buy books by
authors who do that.
<@SLViehl> Remember one thing -- Nora Roberts never promoted her work,
according to rumor. And I know for a fact Linda Howard never did either.
<@SLViehl> 'cause Linda told me.
<@SLViehl> Onto contests -- enter ? don't enter?
<BJ Steeves> Sheila,although I missed the first half of this class, these
all seem to apply to most genres of righting. True?
<@SLViehl> Yes, BJ. I think it does apply across the genre board.
<BJ Steeves> Thanks
<@SLViehl> RWA contests have become a minefield of controversy. You need to
be aware of the politics involved.
<@SLViehl> These are the top contests to get into, btw -- the Golden Heart,
the Maggie, etc.
<@SLViehl> I've always considered contests a waste of my time.
<@SLViehl> Never entered one except a screenplay writing contest which I
semi-finaled in.
<@SLViehl> didn't do a thing for my career.
<@SLViehl> I've heard some shadowy things go on -- contests are fixed,
people award places to PC writers, etc.
<@SLViehl> But let's look at the facts: what do you get out of a contest?
A pin, some money, and maybe a chance for an editor to look at your work.
<@SLViehl> Average contest fees range between $10 -- $40
<@SLViehl> Imagine how many submissions you could produce and mail using the
same money.
<@SLViehl> Instead of one editor looking at your work, you might be able to
send submissions to ten or fifteen or twenty.
<@SLViehl> Losing a contest is sometimes worse than being rejected by a
publisher
<@SLViehl> because you feel like you've been measured up to the competition
and found wanting
<@SLViehl> and you really don't know who is judging it, and what's going on
in their heads.
<@SLViehl> Entrance fees go into the bank accounts of RWA and the
chapters/organizations who run these contests, so of course they're going to
push them as great things.
<@SLViehl> They are great. They make these organizations a lot of money.
<@SLViehl> But if you think it's worth a shot, investigate the contest
first. Who's judging it? What do you get if you win?
<@SLViehl> You must, of course, follow their guidelines to the letter, or
you can't complain if you lose.
<@SLViehl> And expecting to win has to be realistic. I entered a contest
with 3000 other screenwriters, and made the top 90.
<@SLViehl> I didn't advance any further than that, and that's what I got for
my $45
<@SLViehl> There's also the danger of what I call contest junkie fever.
<@SLViehl> Writers get caught up in these contests, and seem to forget their
ultimate goal -- getting published, instead of winning.
<@SLViehl> And make no mistake, winning a contest does not put you on equal
professional footing with the published authors out there.
<@SLViehl> Glory can be fun, but you can't deposit it.
<@SLViehl> I'd go for the contests that give you an open door into an
editor's office. That's the best advice I can offer.
<@SLViehl> Everything else is just not worth the trouble, cost, and heart
ache.
<@SLViehl> QUESTIONS
<BlairB> What happens to the rights of the story if you enter it in a
contest?
<@SLViehl> You retain the rights to your story unless you sign them away in
the contest application. This was a problem with the recent Red Dress Inc.
contest -- Harlequin wanted first rights signed off to them
<@SLViehl> or was it worldwide rights? I forget.
<@SLViehl> Read these applications and the rules involved carefully when you
consider entering a contest.
<Anne_Marble> I've heard that a contest the rules for the contests can be
really... anal. There was a huge controversy with a major contest recently.
So many entrants were rejected because of margins and the like that there
were contests for manuscripts rejected by that contest!
<@SLViehl> My friend, Carol Stephenson, went through an experience like
that.
<Anne_Marble> (Remind me to edit my sentences before posting.)
<@SLViehl> Welcome back, Gayle
<Anne_Marble> I've also heard that novels that take chances -- that don't
follow a certain model -- don't have as much of a chance of winning. :-<
<Gayle> Hello...sorry about that I had an unexpected visitor about something
I'm doing next weekend
<@SLViehl> The contest is all about the pack, and the pack have a "herd"
mentality.
<@SLViehl> Also, I am very leery about contests being judged by other
authors. Too much personal stuff there.
<@SLViehl> I'd go for contests being judged by real editors.
<June> Hard to get editors to judge
<June> my housemate ran an
<June> RWA contest and had a
<@SLViehl> Hard to get editors to do anything these days, June
<June> terrible time finding editors
<June>
good point, Shiela
<@SLViehl> Contests can really mess up the self-esteem, that's what I don't
like.
<@SLViehl> And writing has never been about competition and winning for me.
I compete only with myself.
<@SLViehl> And, on occasion, Orson Scott Card. Ha.
<Anne_Marble> Also, from what I've seen, publishers don't seem to care much
about contests, is that true? (I mean, they don't publicize award winners,
etc.)
<@SLViehl> They will slap a "Rita" or "Golden Heart" cameo on the cover of a
book that won and gets published down the road
<@SLViehl> but it really doesn't matter to my editors. I asked both if I
should enter contests, and they said it was up to me.
<@SLViehl> Since the next section is about sex, does everyone want to take a
5 minute break now?
<Kae>
<Gayle> yes please
<@SLViehl> Wouldn't want to interrupt that topic in the middle of things.
<@SLViehl> Okay, let's take five.
<Anne_Marble> <fanning self>
<June> please, yes
<@SLViehl> brb, I'm going to need another cup of tea for this. lol
<@SLViehl> maybe I should lower the lights and put on some music . . .
<June> How about 'vivere' from
<June> Andrea Bocelli's Romanza
<@SLViehl> Should get everyone in the mood
<June> My favorite 'love scene' music
<Gayle> That sounds cool...
<Gayle> actually right now I'm listening to Brahms,Beethoven and Mozart
trios
<Anne_Marble> I'll put on the Glenn Gould. ;->
<@SLViehl> Alot of husbands and wives and significant others may thank me
later on tonight
<@SLViehl> (evil laugh)
<June> Mine's out of town
<@SLViehl> Phone, June. Phone!
<BlairB> lol
<Gayle> ...and burning my dinner
<June> To his TRUCK? He'll crash!
-end of part one-