Pathways to Publication: Interview with Bill Thomas

Have a manuscript you think might be worthy of publication and not sure what to do next? Maybe you're wondering if you need an agent and how to go about finding one. Or you're confused about what kind of money is involved--does someone pay YOU or do you have to sink some of your own savings into this venture? What does an editor do? Will you have to market this book yourself?

Last month I wrote about my first feeble attempt at publishing a book. Now I'm interviewing other writers on their SUCCESSFUL pathways to publication--from self-published to traditional, debut writers to a writer who's published 130 books, and everything in between. 

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Bill Thomas on finding a niche in the education market


Jody: What steps did you take that led to the publication of your first book?

Bill: I can describe my “path to publication” with a single word: luck. Really. It was sheer luck. But as Seneca noted, some 2,500 years ago, luck is the intersection of preparation and opportunity.

Jody: So, not sheer luck then. Tell me a bit about the preparation part...

Bill: Well, that was varied. I started out to be an artist, but ended up teaching 5th and 6th grade. I sometimes wrote one-page stories for the kids to enhance math, science, or social studies lessons. Once, I wrote an instructional comic book called "Grok and Rok,” on how to count, add, and subtract in base 5 (using numeric systems other than base 10 was one of the “flavor of the month” math-teaching strategies in the early 1970s).

When the school district cut personnel during a budget crisis, that comic book helped me land a job with a company that produced multi-media vocational programs. From there I moved to a technology company where I wrote software documentation, user manuals (great preparation for non-fiction), marketing literature, and advertising copy (great preparation for fiction).

And then came the opportunity. One of my colleagues attended her college class reunion and connected with a former classmate who was now the creative director for an education-market publisher. She brought the guy in for a tour of our company.

When she introduced him to me, he was excited to see a copy of The Baseball Encyclopedia on my cubicle bookshelf. We talked baseball for a while, then writing, and exchanged business cards. A week later, he phoned and asked, “Can you write kids’ books?” I said, “Absolutely. What do you want me to write?” He told me, and after some questions, answers, and a writing sample, I received a contract and a copy of the company’s style manual.

Jody: I like that--the publisher approached you, and you were ready. Your books with them ended up being part of a non-fiction series. How does a book deal in the education market work?

Bill: My contract specified the length of the book, the number and types of illustrations, and, of course, the payment: one-third in advance, one-third upon receipt of the completed manuscript, and the final third when I completed all requested editorial changes.

Jody: How long does it typically take from finished book to publication? And, with your first book, was it all wrinkle free?

Bill: The process was generally pretty smooth. We had a few disagreements over content – the emphasis placed on one topic versus another – but they were resolved without much rancor. The worst issue, for me, was a photograph – one specific picture that I felt absolutely had to be in the book. But the publisher either could not obtain the rights or was unwilling to pay the associated fees. I never did find out which. And I still wish that photo was in the book.

It was roughly a year - three months of writing, nine months of design and production – until I had a copy of the 48-page book in my hands, a biography of Nobel Peace Prize winner Aung San Suu Kyi.

Jody: And this book led to others.

Bill: Yes. More contracts followed. The original publishing house was taken over by another. Some of the editors I’d worked with remained; others went to new companies, so my contacts increased. I’ve now written more than 30 non-fiction books for kids and young adults: biographies, career studies, and history.

A four-book series on the American government was nominated for an award by the Association of Educational Publishers. It didn’t win (I was robbed!).

Jody: Hey! Thirty books is pretty impressive. You've obviously found your niche.

Bill: I did, but two years ago, I decided to make the jump into fiction. I’m now working on the third draft of a middle-grade novel. My greatest surprise in making that move was the amount of research required. I figured, “It’s fiction, right? You just make it all up.” Nope. Not even close.

I joined the Society of Children’s Book Writers and Illustrators and began attending meetings of the local chapter. I also visit a “read and get feedback” group of writers in a nearby town.

My biggest boost in the process (so far) was attending a writer’s retreat at the Highlights Foundation in Pennsylvania. The week-long event provided time to write without worrying about life's normal distractions. Two established writers-in-residence provided individual critiques and guidance, along with evening “mini-lectures.” And the chance to interact with other writers, both aspiring and published, was invaluable.

Jody: What's up next for you?

Bill: I want to keep polishing and refining the manuscript of my novel. I will soon create my own website, to establish an on-line presence and, eventually, I will have to find an agent.

My intention is to seek traditional print publication for my novel. That is a long, hard, and uncertain road, I know. But middle-grade kids – my target audience – aren't a significant demographic in the self-pub or electronic marketplaces. At least, not yet!

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Bill Thomas is the author of more than 30 books for children and young adults. And here's Bill in his own words:

"I went to several colleges over the years. I’m not certain I learned much of value, but I do have a nice collection of degrees. More, really, than anyone needs. A long time ago I served in the Peace Corps, living for three years on a little island in the Pacific Ocean. The experience changed my life. That was followed by decades of monetary servitude. Three years ago I began writing full-time. “Full time” means when I’m not mowing the lawn, shoveling the driveway, cooking meals, getting the oil changed, or attending to other distractions. I live with my wife and her useless cat in Rochester, New York.
Favorite authors: Barbara Kingsolver, Robert B. Parker, Rudyard Kipling
Favorite kids’ authors: Mercer Meyer, Richard Peck, Linda Sue Park
Favorite YA author: Jody Casella
Favorite movie: Casablanca
Favorite artist: John Singer Sargent
Favorite singer: Pete Seeger
Favorite places to be: the Adirondack Mountains; Paris
Favorite quotation: “Compared to writing books, betting on horses seems like a sensible way to make a living.” (John Steinbeck)

Most rewarding thing I’ve ever done: raising children
Stupidest thing I’ve ever done: climbing up a volcano during an eruption
Coolest thing I’ve ever done: hiking four days on the Inca Trail to reach Machu Picchu

My greatest weakness: baseball

What I’d rather be doing: sitting by a campfire sipping Scotch whisky"

Oh, Bill, wouldn't we all. Wouldn't we all. 

Pathways to Publication: Interview with Kim Griswell

Have a manuscript you think might be worthy of publication and not sure what to do next? Maybe you're wondering if you need an agent and how to go about finding one. Or you're confused about what kind of money is involved--does someone pay YOU or do you have to sink some of your own savings into this venture? What does an editor do? Will you have to market this book yourself?

Last month I wrote about my first feeble attempt at publishing a book. Now I'm interviewing other writers on their SUCCESSFUL pathways to publication--from self-published to traditional, debut writers to a writer who's published 130 books, and everything in between. 

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Writer, teacher, and editor Kim Griswell on the importance of making connections in the children's book publishing world 

Jody: You wrote a book that you felt was worthy of publication, what were your next steps?

Kim: The little pig in Rufus Goes to School trotted along an interesting path on his way to being bound in book form. When I wrote the book, I was the coordinating editor of Highlights for Children. Because of my Highlights association, I met many wonderful writers and illustrators. One of those illustrators was the very-accomplished Valeri Gorbachev who has more than 50 picture books to his credit.

After I wrote Rufus, I showed the manuscript to Valeri. He said, "Kim, you're a good writer. I don't know why your books aren't getting published. I like this little pig. I would like to illustrate your book and maybe that will help you get a start."

Jody: Okay, that is NOT the typical path for a writer of picture books--teaming up with an illustrator beforehand!

Kim: I know. Manna from heaven, right? So Valeri did a dummy (which is a mock-up of the story with rough illustrations) and we submitted it to one of the editors he'd worked with before. The takeaway point here—in writing for children, connections matter. Make friends! Join SCBWI. Go to Highlights Foundation workshops and connect with writers and editors. Don't just sit in your writing cubby all alone and think that's enough. These days, it's not.

Jody: And as your story shows, you never know what connection will make a difference. What happened next on Rufus's journey? How much time time did it take to get that finished manuscript to publication? Were there any wrinkles along the way?

Kim: Valeri and I were just talking about this. I think I wrote the first draft in 2007. The dummy and manuscript were first submitted in 2008. The editor said she loved it and asked for a revision. She liked that, too. She said she was taking it to acquisitions, and then...nothing.

For more than two years.

We emailed. We called. We emailed again. We wondered if she'd died (but maybe she walked into one of those thin spaces of yours, Jody!) or left the company or...who knew? So, yes, a wrinkle—the kind you'd see on the face of a 107-year-old crone, I'd say.

Jody: Kim, you're cracking me up. But seriously, I get it. The submission process. The wait. The anxiety. Sometimes, just as we think we're about to cross over, we hit that stalled point. If you don't joke about it, you'd wallow in despair.

For those writers still playing the waiting game, what's your advice? I guess what I'm asking is how did you get Rufus off that editor's desk?

Kim: Well, I started thinking that I probably needed to have an agent. Once again, I used one of my connections. My Highlights colleague Marileta Robinson was being repped by the Herman Agency. I asked if she'd give me an intro to her agent to see if I could get my work read. Her agent, Jill Corcoran, took me on.

As it turned out, Ronnie Herman took Rufus under her wing as she reps all the picture books at her eponymous agency. Ronnie managed to wrestle the manuscript and dummy back from the editor who'd been sitting on it. I think it might have been 2010 by then. And she started sending it out. She placed it pretty quickly with Sterling, and I could not be happier. The folks at Sterling are amazing!

Jody: 2010... and the book is out finally, this month. That IS a long journey to publication. But like you said, it ended up in the right home. What are some of the details of the book deal that you can share?

Kim: My book is traditionally published, and I did get an advance, as did Valeri Gorbachev, my illustrious illustrator. The manuscript went back and forth a few times with my editor, but there were just small changes at that point. It had already been revised and revised again. I saw Valeri's new dummy and finished art and galleys and had the opportunity to read through for errors. (Didn't find a one!)

Jody: What about marketing and promotion? What does Sterling do and what do they expect you to do?

Kim: Sterling seems to have a solid marketing, sales, and rights department, from what I saw recently in a visit to their offices with my editor. They've featured Rufus Goes to School on their fall catalog, which is a big deal. Art from the book appears at the beginning of each catalog section.

They took Rufus to the book fairs at Bologna and London and had Rufus with them recently at BEA in NYC. They're doing a bookmark and a book trailer, all of which is a really big deal to me.

Everyone at Sterling seems so excited about Rufus and they are talking him up at conferences and online.

I'll do whatever I can to help. Rufus has shown up on my facebook page and in some tweets and retweets. I plan to do whatever signings I can and will be available for school visits. Rufus traveled with me recently to The Barn at Boyds Mills where I introduced him to every writer I could pigeonhole, one of whom has already had me write a note to her students to share with them when she gets a copy of the book. Whatever Rufus needs, I'm here for him!

Jody: Any thoughts on the future of publishing or what's going in the industry, as far as mergers, e-books, bookstore closings, etc., go? Do you see any of these issues as affecting you now, or in the future?

Kim: I don't know about everyone else, but here's what I see: books are being published. More books than ever! Great books. Good books. Mediocre books. Life-changing books. Quiet books. Print books. Ebooks. Books serialized on blogs and in tweets. And don't be afraid of digital publishing!

Instead of preventing kids from reading, being on the Internet actually makes them bigger readers than ever of all kinds of things.

As for print? It's alive and well, from wacky informational books (don't miss the books I edit such as The Enchanted Toilet and Uncle John's Smell-O-Scopic Bathroom Reader for Kids Only!) to snuggle-up-in-the-lap picture books.

It's a great time for books and a great time for writers, especially those who are willing to dig deep to learn the craft and seek editorial guidance (whether at a big publisher or through an epublisher).

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Kim Griswell is an author, editor, and writing teacher. A former editor at Highlights for Children, she's now the developmental editor for Uncle John's Bathroom Reader: For Kids Only books. She's published over two hundred stories, articles, and columns. Rufus Goes to School is her first picture book. You can find out more about Kim on her website www.KimGriswell.com

Pathways to Publication: Interview with Nikki Boetger

Have a manuscript you think might be worthy of publication and not sure what to do next? Maybe you're wondering if you need an agent and how to go about finding one. Or you're confused about what kind of money is involved--does someone pay YOU or do you have to sink some of your own savings into this venture? What does an editor do? Will you have to market this book yourself?

Last month I wrote about my first feeble attempt at publishing a book. Now I'm interviewing other writers on their SUCCESSFUL pathways to publication--from self-published to traditional, debut writers to a writer who's published 130 books, and everything in between. 

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Artist Nikki Boetger on what the publication process looks like from an illustrator's point of view

Jody: How did some of your first illustrations become published?

Nikki: Right now I have eighteen different published pieces and have worked with three different publishers. The first three books were with very small presses, one not even in existence today. These were also what I call risks. I was starting to build confidence in my work and didn't feel as though I had a strong portfolio, but as I was diving into blogging and other social media outlets, my work was getting seen and apparently shown around too.

I was contacted by the first two publishers. I did not seek them out. I say "risks" because the publishers were very small and they paid little to nothing, but I felt I would get better portfolio pieces if I worked with them. Which is exactly what happened.

Jody: You mentioned being on social media. Did you do any other kinds of research--join a professional organization or attend conferences--that kind of thing?

Nikki: I was slow to take part in my local chapter of SCBWI because of the location and meeting times and I still haven't gone to a conference (then, because of money, but now, because conferences seem to fall on or near the end of deadlines). I tried critique groups, but partners I was paired up with only ever said to me: " I love it!" or "It's so CUTE!" I graduated from Columbus College of Art and Design, and I was used to being given very thorough critiques. Simple praise wasn't helping me get better or evolve, so I ceased participating.

Jody: "It's cute" doesn't quite cut it.

Nikki: No. It's the social networking and other connections that allowed me to reach the success I have now as an illustrator. So, I try to stay on the ball with those things. Though my website is in horrible need of updating! :)

Jody: But lucky for you--you have the artistic design skills to make this happen!

Back to those first three books, what kind of time frame is involved? In other words, how long did it take from finished project to publication?

Nikki: My first book, What's Wrong with Mud? (written by Gillian Colley), was assigned to me in the fall of 2007. That book was created using cut paper, and I had a full time job working as a graphic designer in a library system, so I finished illustrations about ten months later and they were sent to be photographed and then put into layout and design.

The book was released in spring of 2009. The next two books were trade paperbacks and only took a year from beginning to print.

Jody: Was all this wrinkle free?

Nikki: Well, I will say that I was very upset at the printed versions when I got them. The print quality was awful, the design and layout were horribly done, and the company did not honor their contracts of paying royalties. So, though the illustrations in those books were some of my best at the time, I was ashamed of the end result.

Jody: This is probably the point where it's helpful to have an agent...

Nikki: Yes. And here's where the luck and my love of social networking comes in. I was still in the stages of building confidence and being really critical of my work and portfolio. I was NOT looking for an agent, but I was sharing a lot of art on my blog and participating in lots of illustration listservs and trying to get some feedback that way. One fall day I received an email from an agent saying she had seen my work and had been watching my blog. We had a few conversations, I had a lot of questions and she had really wonderful answers!

It took me a few weeks to make a decision. The first contact made me feel so excited, but the overwhelming part of having to find that confidence of being good enough to have an agent was a lot at the time. I did end up signing with Anna Johnson of AJ & Associates in October of 2009. She immediately took as much art as I could give her, and she used it in promos for visits to different conferences and things she had planned in showcasing her illustrators' works.

It was less than a month when she called me with a big project for BrightStart Learning called Learnalots. In three years time, the Learnalots were developed, 15 published educational materials are on the market, and I am working full time on more to come!

Anna doesn't do much in terms of representing me today because she knows I am swamped with work for the Learnalots, but she is still my biggest cheerleader. I have taken on a few side projects and she is always there for me when I have questions about contracts, negotiating pay, art critiques and so much more! I adore her and have made a lifelong friend in her too!

Jody: Walk me through a typical book deal from an illustrator's point of view.

Nikki: All of my experiences have been different. The first book was a competition, though I did receive an advance and was under a contract. As I said, the following two were with a publisher who never sent payment for royalties. My agent quickly advised me to NEVER work with that company again. And I use that artwork how I want to, disregarding the original contract.

Now I work with a wonderful mass market publisher. I am considered a sub contractor, and I have so much work with the development and future products in the Learnalot brand line that it's like having a 9-5 job and working overtime. I do have a contract with that publisher, and the team of people I work with there are incredible. We call ourselves the dream team, in fact. It's been the best experience and I hope in continues long into the future.

I do take on side projects on occasion. I am about to work on a small book for a hospital. The process for me now: they come to me with idea, I ask a lot of questions about the project, then I form a price quote for the work. I explain in fine detail what they get from me in that price--I even list number of edits and what additional edits will cost. I find this helps a client really understand the value of the work we do.

They sometimes want to negotiate cost, but I rarely have to do that since I have added in the detailed synopsis of the work I do for that cost. I always ask for 1/2 of quote in advance of me starting the work. And I always put in the contract that I will be paid the remainder of the quote within 30 days of delivery of final art or project.

This has worked very well for me and I am happy to say, I have never had to wait months for final payment. I don't generally work with royalties in mass market and with side projects.

Jody: Tell me a bit more about the editing process.

Nikki: I always review and ask a lot of questions on content or scripts when I first receive them. Most things get edited before I start to work on the sketches. I always allow two edits in sketch phase and one to two edits in final artwork before tacking on extra charges for revisions.

Jody: I am assuming illustrators have marketing and promotional work to do.

Nikki: I am not required to market things I work on, but I do. I always ask permission from the clients or publishers first (I have never been told no) and then I run with it. I was in public relations for a library system for a few years, so I have lots of ideas for marketing! I mainly use social media, but I do visit my local shops and book stores and libraries. I get to know the management staff at each and I try to keep them informed. I don't shove it down their throats like a door to door salesperson, but I do share and try to get others excited about such products.

I have not worked with a big, traditional publishing house. At this time, my successes with the mass market and education industry allow me to not have to and I am really enjoying working for a different market. I plan to continue this path for as long as it lasts!

Jody: Any thoughts on the future of publishing or what's going in the industry, as far as mergers, e-books, bookstore closings, etc., go? Do you see any of these issues as affecting you now, or in the future?

Nikki: I don't concern myself too much with this as of now. My publisher takes our products and the Learnalot brand to Bologna, Frankfurt, BEA and more each year and he always gives the team a great status report when he comes back. He has strong enthusiasm for our side of the industry right now, and I trust that instinct in him.

Working in libraries for so many years, you realize just how many people rely on the libraries to get free resources. This makes me believe that the industry will of course change, but it won't disappear. Writing and illustration is everywhere you look. You just have to think outside the box to see where the future might lie. This will take you far, I think!

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Illustrator Nikki Boetger lives in the Central Ohio area. You can find out more about her work on her website NikkiBoetgerIllustrations.com

No, Really. I'm Serious. How DO You Get Published?

The past month I've had a grand old time interviewing writers about the stories behind their book deals. If you were able to read even a handful of these interviews, you probably noticed, like I did, that there are a variety of publication pathways.

Also, there's so much WORK involved going from a finished manuscript to a published book.

Here are a few nuggets of wisdom that jumped out at me (and that I learned over the years on my own journey to publication):

*Publishing a book is HARD. But it is not an impossible dream either.

 Many of the writers I interviewed experienced setbacks along the way. Everyone gets rejections. It's hard to catch the attention of an agent. And honestly, sometimes the process takes a freaking long time. My book Thin Space was "finished" in 2009. It was on submission for two full years before a publishing house expressed serious interest in it.

Something that surprised me was how difficult it was just to get anyone to read it--I'm talking agents and editors. I only got four or five rejections. The majority of the people I sent the manuscript to either rejected the query or never responded one way or another. To say this part of the process was extremely frustrating and depressing is a gross understatement.

*There is a difference between working with a big publishing house and with smaller regional houses and with self-publishing. None of these paths are necessarily better than any other, but a writer needs to understand how the deals can differ.

A big house is potentially going to have bigger distribution and name recognition and promotional reach. But they may not give you the personal attention that a smaller house can.

I didn't realize for a while that I had lucked into a very cool situation with my smaller imprint within a larger house deal. Beyond Words is a small publishing house and they have never published a Young Adult novel before. They've taken a chance with Thin Space and want it to do well, so I've been getting lots of personal attention and perks that I know I would not have gotten with a bigger house. BUT I've got the bigger house behind my book too with Simon & Schuster. 

My agent told me when I signed the contract that I was getting the best of both worlds, and she was right.

*Something beginning writers don't know about self-publishing is how many hats they're going to have to wear if they go that route. In addition to writing, you have to learn about formatting and cover design and marketing (or you will have to hire people to help you with these things). There's money involved upfront that is not involved when you sign with a traditional publisher. Also, there are limits to distribution. Many brick and mortar bookstores will not carry self-published books. You probably won't be able to do a signing at a bookstore or attend a book festival with a self-published book.

But so many books are being bought for e-readers now and many writers--especially those writing romance/erotica and science fiction, are having lots of success with self-publishing. As one of my interviewees pointed out, yes, you may have to pay some money up front if you go this route, but you can keep all of the profits.

*Many of the writers I interviewed mentioned how much research they did when they were starting out. Whether your dream is to sign with a big NYC publishing house or throw your book up on Amazon, you're going to have to do your homework.

There are a ton of online and other resources out there for aspiring writers. A few good ones to get you started:

SCBWI The Society of Children's Book Writers and Illustrators--the professional organization for those of us who write for children.

Highlights Foundation offers a variety of classes and retreats on the craft of writing and illustrating.

Institute of Children's Literature--well-respected online writing course.

Children's Writer's & Illustrator's Market It's updated yearly and includes everything you need to know about submitting your work to publishing companies, magazines, and agents.

Harold Underdown's The Purple Crayon--excellent online resource on children's writing and publishing.

Some of my interviewees praised the Rutgers One on One Plus program, where writers can pitch their books to agents.

(And of course, if you do not write for children, there are many resources and organizations out there for your particular genre or area of expertise.)

When you are down in the doldrums and wondering if you can press on in the face of rejections (or if you are realizing that you still have more to learn about craft) here are some helpful books on writing and creativity:

Bird by Bird by Anne Lamott
The Artist's Way by Julia Cameron
On Writing by Stephen King
War of Art by Steven Pressfield
The Writer's Journey by Christopher Vogler

*Last but not least, once you sign that book deal, you will figure out quickly that the journey is just beginning. You'll have to navigate contracts and tackle revisions and learn how to promote your books--no matter which publishing route you choose.

I'll be doing more of these interviews in the future--I've already lined up an illustrator (because I realized I hadn't included the publication journey from an artist's point of view) and a picture book author and an author who's written over 30 books for the educational non-fiction market, and I'll be posting these over the next few months.

Thanks for sticking around with me on my journey, and I hope I have helped you as you embark on yours. I know, BELIEVE ME! I KNOW! how daunting all of this sounds when you are just starting out. The reward, though--having people READ this book of yours someday--makes it all worth it.

(Let me give a shout out here to the very cool banner above--designed by my awesome neighbor and aspiring teen artist Courtney Berger.)


Oh, and if you are a writer or illustrator with a journey to publication that you'd like to share, drop me a line. I'd love to hear your story.

Pathways to Publication: Interview with Joy Preble

Have a manuscript you think might be worthy of publication and not sure what to do next? Maybe you're wondering if you need an agent and how to go about finding one. Or you're confused about what kind of money is involved--does someone pay YOU or do you have to sink some of your own savings into this venture? What does an editor do? Will you have to market this book yourself?

Last month I wrote about my first feeble attempt at publishing a book. Now I'm interviewing other writers on their SUCCESSFUL pathways to publication--from self-published to traditional, debut writers to a writer who's published 130 books, and everything in between. 

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YA writer Joy Preble on agents and book deals and why she believes we will always have books

Jody: You wrote a book that you felt was worthy of publication, what were your next steps?

Joy: By the time I finished the book that would become Dreaming Anastasia in late 2005, I was already a member of SCBWI and a critique group. I'd gone to a couple conferences and had been working seriously toward publication. I also was a regular on the 'Blueboards' at Verla Kay's site. Between all that and regular blog reading of newly published authors, I understood that I needed to query agents. Which is exactly what I started to do.

Jody: I'm embarrassed to say I never heard of Verla Kay's site and just now checked it out. What an awesome resource for writers and illustrators! So you had your Dreaming Anastasia manuscript and you knew you needed to look for an agent, what was that process like? 

Joy: Well, it was not wrinkle free! The first batch of agents I queried in the fall of 2005 resulted in a bunch of rejections, but one wrote a personal note that said, "You have something here. It's not quite ready, but..." She did not ask to see it again, but I knew that if I worked a little harder, she might be right. I queried my second batch of agents on Super Bowl Sunday in early February of 2006. And it was from that group that I got two requests for partials and then fulls and eventually received an offer of representation from Michelle Andelman, who was then with Andrea Brown Literary. (Later, Michelle would move on and I am now repped by Jennifer Rofe, also of ABLA) 

Michelle and I revised the book for a number of months and eventually in 2007, it sold to Sourcebooks, as the first book in their yet to be launched YA imprint. Many things happened after that: As mentioned, I ended up with an agent change. My acquiring editor at Sourcebooks left and I landed with a new editor. The new Fire imprint launch was delayed and in fact Dreaming Anastasia was finally released in September 2009, but the FIRE imprint didn't launch until March 2010. 

Jody: Quite a few wrinkles and a good four years from finished manuscript to publication, but it all worked out in the end?

Joy: Oh yes. Dreaming did well! I was thrilled!

Jody: You've talked a bit about your agent, Jennifer Rofe.  What exactly does she do for you?

Joy: All agents are your business partners. They negotiate your book deals, they cheerlead, they help build your career. They make the connections that you could not otherwise make yourself. There's a lot of press these days on self-publishing, particularly e-pub of New Adult titles. But I am a strong proponent of being agented. 

Jody: And your agent seems like she's hands on when it comes to revision.

Joy: Yes. She's an editorial agent, which I prefer. We both work together to make sure that the manuscript that goes out to editors is the strongest it can be.

Jody: You mentioned self-publishing and I know your books are traditionally published. Tell me a little about how a book deal works when you have signed on with a publisher.

Joy: As I mentioned The Dreaming Anastasia series is published by Sourcebooks. My new The Sweet Dead Life series is from Soho Press, as is the anthology I'm in. This means that I received an advance and that I also receive royalties once books earn out, as well as $ from foreign rights and film and audio and all the usual stuff. In all cases, I received half the advance upon signing the contract -- 15% of which goes to my agent, which is a standard figure and well-earned! The other half comes when I've turned in the final copy on time. Earning out means that you have sold enough books to earn back that advance. 

So for ease of math, let's say that you received a 10k advance and your book will be a trade paperback selling for $10 per copy and that you get a 10% royalty rate on each copy--that means that you would need to sell at least 10,000 copies to start earning royalties.

Jody: What about when it comes to marketing and publicity? What do your publishing companies do? And what aspects of promotion are your responsibility? 

Joy: All authors other than a rarified handful and even some of them, participate heavily in the publicity end -- through social media such as Facebook, Twitter, blogging, as well as book events including signings, conferences, panels... Both my publishers have always served as the go -between for many events. They pitch me to festivals, send press kits, do extensive marketing and promotional work, spend coop money at the chains and other places, place ads in places like PW newsletter, contact newspapers and bloggers and librarians. They create covers and often bookmarks and other physical materials. 

I work with brilliant editors who are dedicated to creating the best books possible with me. The list goes on and on. Everything you see in a bookstore: books facing out, end caps, special features-- by and large they are arranged by publishers. (Of course this doesn't count my in-law Pennie, who has made it her mission to face my books out in every bookstore in the LA metroplex. Shh.... don't tell anyone. She also likes to move one copy to sit by whatever the heavily featured book is. ) So I think the benefits of working with a publisher are huge. Certainly there are some self-pub success stories out there like Amanda Hocking and Colleen Hoover. If you want to be your own business totally and completely, then fine. I do not. 

Jody: Can you put me in touch with your Aunt Pennie? Seriously, though, any thoughts on the future of publishing or what's going in the industry, as far as mergers, e-books, bookstore closings, etc., go? Do you see any of these issues as affecting you now, or in the future?

Joy: Truth? I think there will always be books-- physical books in addition to other platforms. Publishing is being careful not to go the way of the music industry, which put its head in the sand way back when with Napster (do you remember Napster?!) and tried to pretend that people wouldn't want to share music files! Well, you see how that worked! Not. 

It's funny, but if you watch that old Tom Hanks/Meg Ryan movie, You've Got Mail, not only do you get to nostalgically hear the dial up noise, but you also see the exact opposite of what's happening today! In 1998, the big move was for the huge chains to eat up the indies. Now, the indies are honestly thriving, more and more every day. We have not lost our need for a real live place to meet and share our love of books, meet with authors we love and new authors we want to get to know. Here in Houston, we have some amazing and thriving independent bookstores: Blue Willow Bookshop, Murder by the Book, Brazos Books and others. They are run by brilliant and dedicated booklovers who handsell titles, including my own, and create a space for artistic dialogue to occur. So I am very hopeful about the future of the book!

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Joy Preble, is a former English teacher and the author of the Dreaming Anastasia series, which Kirkus calls a "well-paced roller-coaster ride of death-defying magical encounters." Her new novel, The Sweet Dead Life, is out now with Soho Press. 

You can find out more about Joy on her website www.joypreble.com

Pathways to Publication: Interview with Steve Flairty

Have a manuscript you think might be worthy of publication and not sure what to do next? Maybe you're wondering if you need an agent and how to go about finding one. Or you're confused about what kind of money is involved--does someone pay YOU or do you have to sink some of your own savings into this venture? What does an editor do? Will you have to market this book yourself?

Last month I wrote about my first feeble attempt at publishing a book. Now I'm interviewing other writers on their SUCCESSFUL pathways to publication--from self-published to traditional, debut writers to a writer who's published 130 books, and everything in between. 

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Author Steve Flairty on working with a regional press to launch an inspirational book series


Jody: You wrote a book that you felt was worthy of publication, what were your next steps?

Steve:  My first book, a biography of a well-known Kentuckian named Tim Farmer, started out as a magazine article. In 2005, someone approached me about extending the article into a full-scale biography on Tim, who overcame a debilitating injury to his right arm to host his own outdoors TV program.  The person who approached me offered to fund the publishing of the book through a respected self-publisher in Kentucky. At that point I'd been attending book fairs and talking to as many people as possible about the business of writing and publishing books.  The publisher liked me, but was not interested in most of the topics I suggested for books.  When I offered the Tim Farmer story, however, they got real excited because of the high marketability possibilities.

Jody: How does a deal like that work--when it comes to money? Did you have to pay anything up front?

Steve: My “benefactor” worked out the finances with the publisher, as well as paying me for expenses and a stipend for my work.  He offered royalties, too, that increased in proportion to the sales.  For me, it was not enough money to get rich but certainly a way to make a splash into the book world.

Jody: Is that how it worked with your other books too?

Steve: No. The next four, all in a series called Kentucky’s Everyday Heroes, are published by a small, but respected one-person local publisher. I knew him and had done a magazine article about his work.  In seeking advice about the possibility for the series, I was surprised that he ASKED if he could be my publisher.  It’s worked well.  I procured my own editor.  The publisher offers to pay royalties on books he sells, but it is much better for me to buy the books at a good price from him and sell on my own, actually something I kind of enjoy.  With each of the publishers, it has taken three to five months from the time documents (manuscripts and pics) were sent until the book was released for sales.

Jody: What kind of marketing and publicity do you have to do when you're working with a small, local publisher?

Steve: Most of it! With the first book, Tim Farmer: A Kentucky Woodsman Restored, it helped that Tim had a built-in fan base in the area. Still, I did lots of one-to-one promotion.

Jody: What do you mean by one-to-one?

Steve: I constantly network—or simply put, talk to others and develop relationships with those around the writing world. I go to book fairs, and also cultivate relationships with those for whom I’ve written magazine articles.  I gain knowledge, and by doing so, learn what is really important for time emphasis.  My advice would be to treat others well, even “pay forward” in helping other writers, and it should be a daily activity.

Jody: Do you have an agent?

Steve: Since my market area is mostly Kentucky, I am content to work with local publishers who know the state’s people, and I don’t see a need for an agent.  Again, personal “good faith” networking is a must.  I like to be part of a “family literary” model, knowing that I may never make the big bucks as a result.  That’s OK--I wasn’t thinking of getting rich anyway.

As an added note, a great number of my books are sold at speaking engagements I do all around the state.  I promote my availability as a speaker almost as much as the books I write.  A “captive audience” and stories directly from the book are helpful, obviously.  Getting out and around also helps me find more stories to share.

Jody: Any thoughts on the future of publishing or what's going in the industry, as far as mergers, e-books, bookstore closings, etc., go? Do you see any of these issues as affecting you now, or in the future?

Steve: Though I much prefer the feel of a regular book copy in my hands, the trend seems to be toward e-books and online communication.  I am already talking to a couple of friends who are heading in that direction.  I likely will give it a try also.

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Steve Flairty is a lifelong Kentuckian, teacher, public speaker and author of five books: a biography of Kentucky Afield host Tim Farmer and four in the Kentucky’s Everyday Heroes series. All of Steve’s books are available around the state or from the author. Steve is a senior correspondent for Kentucky Monthly as well as a weekly KyForward contributor. Watch his KyForward columns for excerpts from his books.

Contact him on Facebook or email sflairty2001 (at) yahoo (dot) com

Pathways to Publication: Interview with Janet McLaughlin

Have a manuscript you think might be worthy of publication and not sure what to do next? Maybe you're wondering if you need an agent and how to go about finding one. Or you're confused about what kind of money is involved--does someone pay YOU or do you have to sink some of your own savings into this venture? What does an editor do? Will you have to market this book yourself?

Last month I wrote about my first feeble attempt at publishing a book. Now I'm interviewing other writers on their SUCCESSFUL pathways to publication--from self-published to traditional, debut writers to a writer who's published 130 books, and everything in between. 

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Tween-novelist Janet McLaughlin on finding success with a start-up company


Jody: You wrote a book that you felt was worthy of publication, what were your next steps?

Janet: Before the “next steps” there were the first steps. I researched for organizations that might help me with writing the book and was lucky to find the Society for Children’s Book Writers and Illustrators (SCBWI). Agents, editors, publishers all have respect for this organization and are more likely to pay attention to the writing of its members. That’s where I found my first critique group. And that’s where I found out that I had a lot to learn about writing for kids.

My first two (or so) books were my trial and error works—a crash course in what not to do. Through the help of my group, through critiques that I got at SCBWI conferences, and with help from other writer friends, especially my critique partner Augusta Scattergood, I finally finished a book that I thought might make it in the publishing world. That whole process took about 5 years. (I’m not counting the three of decades of writing for magazines I did for before that.)

It was also through SCBWI that I learned about researching for the right agent/editor. I subscribed to newsletters, read blogs, attended more conferences. It didn’t take long to figure out that the best route to publication would be through finding an agent. And the best route to finding an agent was to write a great query letter. Which led to more newsletters, blogs, etc.! This was a long process, but a necessary one.

When I found an agent or agency that I thought would be a fit for my book (one looking for teen, paranormal romance/mystery), I would check them out on Preditors and Editors. There are a lot of not-so-legit companies out there, and this site helps sort them out.

Finally the research was done, the query perfected, the agents targeted. Now came the hard part. The waiting. And I am not ashamed to admit (because I know we all do it) I checked my email every hour or so, starting about five minutes after I sent the first query.

Jody: Your long journey sounds a lot like mine, but then, finally, you got your book deal?

Janet: Get Psyched took several years to find a home, and it truly was a roller coaster ride. At first, everything went incredibly well. After I sent my first batch of query letters, I got two responses from interested agents. One really loved the book and offered me a contract. The thing is, when you get an agent, you assume the sale of the book is a done deal. Not so. Not for me, anyway.

While I was blissfully waiting for Get Psyched to find a home, I started working on its sequel. But when I found out that my book wasn’t getting published after all, I descended into that mindset of “I stink a everything!” and stopped writing altogether. The pity party lasted about six months, but writing is so much a part of who I am.

Since I loved the characters in Get Psyched so much, and since I was convinced it would never see the light of publishing, I started a new book with the same protagonist and best friend.

Jody: You and I really do have similar journeys. When all else fails, write another book! How did things finally come together with Get Psyched?

Janet: To appreciate the synchronicity of what happened next, I need to tell you that Get Psyched takes place at a National Cheerleading Competition in a complex near Disney World. In early December, 2011 I was there watching one of my grandchildren compete. A woman was manning a booth, handing out magazines about cheerleading, and my husband, Tom-The-Promoter, who sees opportunity everywhere, told her about my work. It turned out that her company was looking for a book to launch their new business, Bookworm Publishing Company.

Voila! not long after, I was a published author. And it only took about eight years and six months!

I committed to doing a series with them, so I “dusted” off and finished the sequel to Get Psyched I had abandoned a few years ago. Psyched Out was released in late February of this year. I'm now writing the third book in the series, Fireworks, which is a rewrite of the novel with the "stolen" characters.

Jody: Tell me a little about your book deal.

Janet: I’m not sure I’d call my book “traditionally” published. But it’s not self-published, either. I didn’t get an advance, but I was okay with that. Bookworm was a new company and I was an unproven entity. But since we were willing to take a chance on each other, we adopted guidelines that suited and benefited both of us. I paid to have the books edited professionally, but they handled all the other expenses. They plan on adding an editor to their staff in the future. The royalties are equivalent to the professional norm.

When it comes to the technological end of things, I am, let’s say, challenged. Bookworm takes care of much of that end of the promoting. We work together on booking school visits and such. Getting your name recognized is a slow, tough, ongoing process. Having a company behind you, helping you, is invaluable.

Jody: Any thoughts on the future of publishing or what's going in the industry, as far as mergers, e-books, bookstore closings, etc., go?

Janet: I haven’t a clue. I do know from the feedback I’ve gotten since my books have been published that there are people who prefer to read on their electronic devices and those who prefer hard copies. I’m one of the latter. So I’m hoping that print books will always be available. But I have to admit. There are times when I want a book, and I want it now! That’s when I appreciate e-books.

But that’s an adult speaking. My books are for ‘Tweens, and more of them don’t have Kindles, et al, than do. So print copies are essential for my audience. But I’m thinking that will change soon. I’ve seen one-year-olds more adept at handling IPads than some adults I know.

Currently, my books are available on Amazon and Barnes and Noble's websites, but I’m okay with that. As much as I like brick-and-mortar stores, more and more people are buying via the internet. Not only is it fast and simple, it makes gifting so much easier.

The publishing industry is changing. It has to. The world I see today is enormously different than the world I grew up in. And I believe it’s only the beginning. I’m an optimist. I think, after a couple of decades of adapting to our exponentially changing world, our lives will be richer and the better for it. There has to be a novel in there somewhere, don’t you think?


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Janet McLaughlin is a writer, editor, and teacher. Her first novel is Get Psyched, a tween paranormal mystery. You can find out more about Janet by visiting her website:   www.janetmclaughlinauthor.com

*Postscript by Janet McLaughlin

When one door closes…

Shortly after I did this interview with Jody, my publishing life took a different route. My publishers and I decided to part ways due to “irreconcilable differences.” The dispute was over terms in the contract that were not spelled out. It was a matter of interpretation of a couple of words that impacted on the bottom line for both of us.

Am I upset? Not really. I learned a lot from this relationship. And I also got a lot of satisfaction out of it, too. They still believe in the books, as do I. They helped me get readers that I might not have reached otherwise. And I now have the confidence to continue my journey as an author. I just have to choose the right path.

I believe that everything happens for a reason. I am energized and ready for the next challenge. Self-publish? Seek representation? Go directly to the source, i.e. publishing houses? The only limits are the ones I place on myself.

I can feel it already. Another door opening…

Pathways to Publication: Interview with Holly Schindler

Have a manuscript you think might be worthy of publication and not sure what to do next? Maybe you're wondering if you need an agent and how to go about finding one. Or you're confused about what kind of money is involved--does someone pay YOU or do you have to sink some of your own savings into this venture? What does an editor do? Will you have to market this book yourself?

Last month I wrote about my first feeble attempt at publishing a book. Now I'm interviewing other writers on their SUCCESSFUL pathways to publication--from self-published to traditional, debut writers to a writer who's published 130 books, and everything in between. 

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YA author Holly Schindler on how a long road to publication can be a blessing in disguise 

Jody: You wrote a book that you felt was worthy of publication—what were your next steps?

Holly: A bit of backstory: when I graduated with my master’s, I dove headfirst into writing.  I’d already published a few pieces when I was in grad school, actually: poetry, short fiction, literary critique.  I was under the grand delusion that publishing a book would be no sweat!  When I’d finished my first book-length manuscript, I began submitting it in much the same way I’d submitted my shorter pieces: I used writer’s guides to see who was open to unsolicited manuscripts, I checked out what they were publishing (to find out if my manuscript was in the same vein), and I queried.  And queried.  And queried…

Jody: And that led to a book contract eventually?

Holly: No! That first book-length manuscript was never published.  I had a few nibbles, no takers.  But while I was waiting for the response to my submissions, I drafted other novels.  And I began to send out queries for those books.  Pretty soon, I was juggling several different books, all in different stages of completion.

A couple of years or so into the pursuit of publication, I started teaching music lessons.  It was the perfect setup: I’d write all day, until the kids got out of school in the afternoon.  When I started teaching, I was amazed at how similar those kids were to the kids I’d known in school—the fashion and the technology had changed, but the struggles hadn’t!  So I tried my hand at writing for kids.  My first published novel turned out to be a YA.

Jody: So how long did it take from when you first started submitting to that first book deal?

Holly: All in all, it took seven and a half years—and more manuscripts than I can count—to get that first acceptance.  I also took personalized rejections seriously, and worked to revise my manuscripts and resubmit to editors who were willing to take a second look.  I don’t know the exact number of rejections, but it was well over a thousand.  I received over eighty rejections for my debut, A Blue So Dark. 

Jody: That's a lot of rejections. But the perseverance paid off.

Holly: Yeah…You know, I’m always saying that I never would have thought, starting out teaching music lessons, that it was going to give me career direction—I thought it was going to give me some money to pay a few bills.  It just goes to show you that living your life, exploring new avenues, is just as important sometimes as writing.

Jody: That's true. And then in addition to writing, as you've said, there's the business end to this--the querying, the researching, the tallying rejections. Do you have an agent?

Holly: I actually sold my first two YAs myself, but I do have an agent now.  I got my agent the same way I got my first editor: direct submission using a query letter.  I’m a big, BIG fan of the query letter.  Most valuable piece of writing you can master.  NEVER underestimate the power of a good query.

I really love my agent—she’s placed my debut MG, The Junction of Sunshine and Lucky, with Dial, and my next YA, Feral, with HarperCollins.  But it’s more than that—she’s given me so much fantastic career advice.  I’ve been with her now since ’09, and anytime I have a question or concern, I grab the phone and call her up.  It’s incredible having someone in the business that you can talk to like that, who’s on your side…

Jody: Explain a little about your book deals.

Holly: My books—both published and forthcoming—have all been with traditional publishing houses.  The first two were with a smaller house, and my forthcoming books, as I said before, are with larger houses…

If I could go back and talk to unpublished me, I think I’d tell her how much editorial work is done after acquisition.  Usually, global edits are required—we’re talking changing events, adding or dropping characters, switching up the POV…major, MAJOR changes.  And so far, my global rewrites have usually had to be completed in about a month’s time.

That’s not to say you won’t be asked to do ANOTHER round of major rewrites when those are finished.  You may very well have to.  Again, in about a month’s time.

Jody: But you had that long stretch when you were submitting and getting rejections to practice!

Holly: That's right. I often think the greatest thing that happened to me was that seven-and-a-half-year stretch of time before my work was accepted.  As time went on, and I received personalized rejection, I learned how to interact with editors.  I emailed them as we talked rewrites—one even called so we could discuss the book in more “real time” over the phone.  And I learned how not to get freaked out by doing an inordinate amount of work in a short period of time.

Actually, I like the challenge of a fast write.  I give myself crazy deadlines even when I’m drafting new work, to push the book along.

Jody: Last question, Holly. Any thoughts on the future of publishing?  Do you see any of these issues as affecting you now, or in the future?

Holly: Wow, that’s a heavy one.  Like most anyone in the publishing industry, I don’t really have an answer.  A few years ago, I would have told you I’d never buy an e-reader.  But I’ve got one.  When I started writing, I used a real dinosaur of a computer—didn’t even have a modem.  I had no use for the distractions of the Internet.  Now, I can’t imagine not being to interact with bloggers and readers via Twitter, Skype, Facebook, my own blog.

I think as a writer, you have to be open-minded…The publishing world will always be in a state of flux.  You just have to learn to change along with the changing times.

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Holly Schindler's debut literary YA, A Blue So Dark, received a starred review from Booklist and was named one of Booklist’s Top 10 First Novels for Youth. She's also the author of the YA Romance Playing Hurt, the forthcoming middle grade The Junction of Sunshine and Lucky, and the YA psychological thriller Feral.

A lover of all genres, Schindler also writes for adults, and can be found working on her next novel in her hometown of Springfield, MO.  Check out Holly online at HollySchindler.com.

Pathways to Publication: Interview with Alessandra Thomas

Have a manuscript you think might be worthy of publication and not sure what to do next? Maybe you're wondering if you need an agent and how to go about finding one. Or you're confused about what kind of money is involved--does someone pay YOU or do you have to sink some of your own savings into this venture? What does an editor do? Will you have to market this book yourself?

Last month I wrote about my first feeble attempt at publishing a book. Now I'm interviewing other writers on their SUCCESSFUL pathways to publication--from self-published to traditional, debut writers to a writer who's published 130 books, and everything in between. 

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Alessandra Thomas, New Adult fiction writer, on finding a niche in the self-publishing world


Jody: You wrote a book that you felt was worthy of publication, what was your next step?

Alessandra: I wrote Picture Perfect with the intention of publishing it  myself. After it was drafted, I sent it to critique partners, made some edits, and then sent it on to my line and copy editors.

While my editors were working on the book, I put it up on Goodreads and started emailing reviewers asking them if they’d be interested in accepting a free copy for an honest review. I also became more active on Twitter.  I engaged a publicist (KP Simmon at Inkslinger PR , she’s incredible!) to set up the blog tour and release day blitz, and then we were off to the races!

Jody: How long did it take from finished book to publication?

Alessandra: About three months.

Jody: That's a quick turnaround! Do you have an agent?

Alessandra:  No, I don’t.  Although I was approached by a couple of agents about representing Picture Perfect before it was published, I wasn’t interested in representation because I knew I wanted to self publish.

Jody: You mentioned that you had line and copy editors and your publicist. Did you hire anyone else?

Alessandra: Yes. I also worked with a digital formatter. The editors and formatter all cost around $1000. My amazing publicist KP Simmon, in addition to arranging a blog tour, sent out eARCs to some reviewers, while I sent them to others I had contacted personally. Then I uploaded it to all the websites et voilà!

Jody: What are the benefits, in your opinion, of taking the self-publishing route?  Any cons?

Alessandra: For someone like me, who’s writing in a hot genre – New Adult romance – indie publishing allows me to get my book to readers quickly and directly. I can start reaching an audience with it and see the benefits as soon as the book’s ready, and readers can decide whether it’s worthy of success.  I love that there’s no waiting period.

Jody: Any thoughts on the future of publishing or what's going in the industry, as far as mergers, e-books, bookstore closings, etc., go? Do you see any of these issues as affecting you now, or in the future?

Alessandra: I’m just so grateful that self-publishing exists, honestly. Ten years ago, I wouldn’t have been able to share my story with readers this easily. I think that more authors will realize that traditional publication is one way to share your work with readers, but it’s not the only way.

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Alessandra Thomas is a New Adult novelist. Her debut is Picture Perfect. You can find out more about Alessandra on her website.

Pathways to Publication: Interview with Jennifer R. Hubbard

Have a manuscript you think might be worthy of publication and not sure what to do next? Maybe you're wondering if you need an agent and how to go about finding one. Or you're confused about what kind of money is involved--does someone pay YOU or do you have to sink some of your own savings into this venture? What does an editor do? Will you have to market this book yourself?

Last month I wrote about my first feeble attempt at publishing a book. Now I'm interviewing other writers on their SUCCESSFUL pathways to publication--from self-published to traditional, debut writers to a writer who's published 130 books, and everything in between. 

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YA novelist Jennifer R. Hubbard on doing research and working with an agent

Jody: You wrote a book that you felt was worthy of publication, what were your next steps? 

Jennifer: I was already publishing short stories, but that’s a simpler process—less of a commitment. You don’t need an agent; you don’t get royalties. I knew I had to do some research before taking the plunge to novels. When I realized I wanted to write YA, I took a course in children’s writing. (Young-adult has traditionally been under the umbrella of children’s publishing.) That led me to children’s writing conferences, the Rutgers One-on-One Plus conference, and the SCBWI. They helped me understand the process and the market.

Jody: How long did it take from finished book to publication? Was all this wrinkle free? Or were there setbacks along the way?

Jennifer: For the manuscript I wrote right before my first published book, I had gone back and forth for a few months with an editor I met at a conference. He made helpful suggestions and I revised, but ultimately he passed. I found some interest in that book from other editors and agents, but they all agreed it needed something to push it that last step to the publishable level. Unfortunately, they didn’t agree on what that something was, and I didn’t know myself, so I set that book aside and focused on The Secret Year. 

I showed TSY to one editor whom I’d met at a conference, and even though the book wasn’t right for his publisher, he gave me some helpful feedback. I then went back and polished the manuscript for a few more months (and worked on short stories and other book ideas) before submitting it to the agent who ended up signing me.

Once I found my agent, it took another few months to get an offer on the book. After the book was under contract, it took two more years until publication. Those two years included revision on my part under editorial guidance, and then a lot of behind-the-scenes work by my publisher: book design and formatting, getting reviews, preparing publicity, marketing, etc.

Jody: Tell me a bit more about your agent--how you found him and what he does for you. 

Jennifer: I learned about agents via SCBWI, writers’ conferences, looking at the acknowledgments sections of published books, and reading publishing blogs. My first agent was a newer agent at a well-established agency, and he was actively building his list. I queried him, then sent the manuscript on request. After he read the manuscript, we had a discussion, and then agreed to work together. It was a very “textbook” how-I-found-my-agent story. We worked well together for three years, but then he decided to change careers, and I transferred to another agent at the same agency.

The first thing I noticed about working with an agent was that my manuscripts got read faster than when I was submitting on my own. But submitting to editors is only a small part of what agents do.

Jody: That's true. There's the whole business side to writing and publishing. Walk me through some of the details of your first book deal. 

Jennifer: When I got my first look at my publication contract, I was very glad I had an agent. It takes skill and experience to negotiate that kind of contract. There are all sorts of factors involved in a publication contract aside from just the size of the advance and royalties: foreign rights; electronic and audio and film rights; option clauses; non-compete clauses; reversion of rights; and so on.

Jody: And then, I'm assuming there is revision work that is expected...

Jennifer: Yes. The editorial process worked like this: my editor gave me thorough, detailed comments, and I reworked the manuscript accordingly. I didn’t have to take all her suggestions, but I took about 95% of them—they made the book better! I think we did 2-3 rounds of edits. 

Book designers created a jacket and designed the interior—picking the fonts and so forth. My editor wrote jacket copy and catalog copy with input from me. Meanwhile, the sales team was learning the season’s books and pitching them to libraries and booksellers. The publisher also submits books to major professional reviewers and award committees.

Jody: Now you're talking marketing and publicity. What things did your publisher do and what were you expected to handle?

Jennifer: My publisher’s publicist set up things like magazine and newspaper interviews, and a signing at NCTE. I set up my own local signings, for which I’ve teamed up with two local authors’ groups (the Kidlit Authors Club and the New Jersey Authors Network). I set up my own launch party and guest blogs, and got my own bookmarks designed and printed. 

Jody: And I know you are active on social media too. Any thoughts on the future of publishing or what's going in the industry, as far as mergers, e-books, bookstore closings, etc., go? 

Jennifer: I think it’s going to become more common for writers to do a combination of self-publishing and traditional publishing, to write for a variety of media, and to interact with readers online. At the moment I’m typing this, the print market is still huge, and traditional publishers still provide some big advantages in terms of bookstore and library distribution, advance money, and editorial and design support. 

But I think digital publishing and self-publishing will continue to grow. It’s of benefit for both readers and authors to have stories available in as many media as possible: print, electronic text, audio, etc.

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Jennifer R. Hubbard is a writer of contemporary novels for young adults. School Library Journal called The Secret Year a "provocative debut novel." Her second novel Try Not to Breathe received starred reviews from Kirkus and Publisher's Weekly.

You can learn more about Jennifer by visiting her website Jenniferrhubbard or her blog jenniferrhubbard.blogspot.com