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Dear Cindy,
How come you keep entering the Golden Heart Contest when you never final?
Nosy Naomi
Dear Naomi,
Well, you've really grabbed some brass ones, haven't you? Not to worry, Naomi, I don't mind dishing about my shortcomings. First, for anyone reading this who isn't a member of the Romance Writers of America and has no blinkin' idea what the Golden Heart is, let me preface my humble answer by explaining that the GH is RWA's annual contest for unpublished Beginnings of Manuscripts written by both unpublished members and those published with publishers not yet recognized by RWA. I fall into the second category. How come some publishers are "recognized" by RWA while others aren't? That's a complicated issue best left to the experts to explain. However, seeing as I'm so helpful (some might call it lazy), I'll add another link for those of you with a burning desire to know. I'll get some tea while you read it....
All righty, I'm back, cup of tea in hand (er, I mean, on desk...far, far away from the keyboard). As you can see from the handily provided link (please, no applause...honestly, I don't deserve it...okay, now I'm blushing, please stop!), basically, if your publisher has yet to meet RWA's standards for publisher recognition, then, regardless of whether you're published or not, you can't enter the RITA (the contest for published romance novels and authors). However, you can, along with RWA's talented unpublished members, enter the Golden Heart. So I do. Hey, I gotta take what I can get.
To me, the primary reason for entering the Golden Heart over and over and freaking over is quite simple: you can't final if you don't enter. And finaling in the GH carries a certain "ka-ching" with editors and agents that isn't quite fulfilled by any other contest (the Maggies comes a close second, though, and I'm pleased to report that I seem to have no trouble finaling there!). Finaling Golden Heart entries enjoy full manuscript reads by industry professionals that sometimes lead to contracts (yippee!), and, of course, finaling means you have a really excellent reason to go gorgeous-dress-buying for the Golden Heart Awards held at the National conference. Not to mention getting first whack at the editor/agent appointment selection process. The only thing the Golden Heart doesn't provide that other RWA-chapter-sponsored contests do is a score sheet or critique of your entry. Which could be seen as a negative, but not by me...because of that "ka-ching" thingie.
Does not finaling in the GH—or any other contest, for that matter—mean you're a cr*ppy writer? (what does she mean? crippy? croppy? cruppy??) Resoundingly, no. Like so many other facets of this industry, contest judging is subjective. I've known many a writer not to final in the Golden Heart and still go on to sell. Some writers get supremely trashed in contests (well, their writing does), yet, once they cross the threshold to Published, these same writers often enjoy ultra-successful and lucrative careers. How you get there isn't as important as grabbing every opportunity you can to help you get there. And that's why I enter the GH whenever I have a new manuscript ready. And why I believe other writers should, too.
In fact, I believe entering writing contests in general is a great tool for developing writers (nice segue, huh?). Let's list the Pros, shall we? Offered in no precise order:
- Other than the Golden Heart, most—if not all—RWA-chapter-sponsored contests offer the aforesaid score sheets with hopefully detailed comments on your work. Some contests, like the Maggies, offer detailed critiques instead. You can use these score sheets and comments to improve your writing.
- Choosing contests wisely can get your work in front of the very editors and agents you're targeting (check the contest information provided in the Romance Writers Report to see who's judging the finals; granted, you do have to final to get your work in front of said editors and agents, but what is life without challenges, right?) Even if the final round doesn't result in a win or a request, the editors and agents in question still become familiar with your writing and your name (hopefully, in a positive light...)
- Not finaling in a contest helps you develop the thick skin needed to survive rejections (which even the published must endure). I realize this might not sound like a Pro, but it is!
- Entering writing contests helps you learn how to meet deadlines. This is a Kinda Pro, because I'm of the mind that no "pretend" deadline provides the same incentive as an editor-imposed deadline. I blow my pretend deadlines all the time! Heck, my muse knows I'm not an editor or an agent. But I've heard the "pretend deadline" thingie works for others. (Note: Lest some of you think I'm a slack-*ss, I have never blown a real deadline).
- Winning and finaling in contests can serve as a screening device for busy editors and agents—as in they might request your work as a result of the impressive contest wins you've dutifully listed in your query letters. I'm not saying eds/agents are only interested in award-winning writers, but contest wins can't hurt! (unless you've fallen victim to Con #1, see below...following Pro #6, for the literal among you).
- Winning a writing contest can give a previously rejected manuscript another chance with a new line and editor—or even the editor who rejected it in the first place. If they request the manuscript, that is. And assuming Pro #1 - you've improved the manuscript.
That's six nifty Pros. However, I like fences, so here are some Cons to entering contests:
- Winnifred Writer loves to enter, final in, and win contests so much (what a rush!) that she keeps revising and polishing the same entry over and over...and never actually submits it to editors or agents outside of the contest circuit. And perhaps Winnie even experiences great difficulty actually finishing a manuscript, because she's so darned busy making the opening perfect. Remember, Winnie: editors buy finished manuscripts from unpublished writers. So, sure, enter those contests, but also query and submit your completed manuscripts to editors and agents directly.
- The danger in believing that every judges' opinion is gospel and doing one's dangdest to accommodate every negative comment one receives. Tut, tut, Entering Edna. Remember what I said above? The industry is subjective. So, peruse those score sheets and critiques carefully, but never ever apply a comment to your work unless you honestly agree with the comment and believe with everything inside you that following the judge's suggestion is right for your story and for you as a writer. This danger doesn't apply only to the comments of published and unpublished preliminary round judges, but also to the reactions of whatever editor or agent judges the finals. Subjectivity even exists between editors for the same lines...which explains why some contest entries win one contest, garnering a full manuscript request, yet place fifth in another with comments along the lines of, "Never darken my doorstep again, you haggish hack, Edna."
- On the other hand, Con #2 isn't meant to say that Entering Edna should willy-nilly disregard negative comments because revisions are too darned difficult and Edna thinks the judges are morons. Really think through the comments, Edna, even the ones that at first glance sound totally off the mark. Set them aside for a couple of weeks and then re-read. Reconsider. Then make your decision. Because, in the end, it's your story and you deserve to feel great about what you're putting out there.
- Negative comments and scores are tough on the old psyche! Naomi, seeing as your question prompted this spew-fest, I'll direct this last Con to you. If scoring poorly in contests and reading negative comments sends your muse in a rapid downward spiral, Naomi, then entering contests might do your writing more damage than the thrill of finaling is worth. Only you can determine whether going the contest route is worth developing the thick hide mentioned in Pro #3. If reading your score sheets routinely leads to Shove-The-Manuscript-
Under-The-Bed-Itis or makes you want to give up writing completely, then my recommendation (like I know what I'm talking about, but it's my column), is not to enter contests at all, but submit directly to editors and agents—and sell oodles and oodles of books regardless.
© Cindy Procter-King, March, 2005
Note 1: Cindy finaled in the Golden Heart in March 2007 with her long contemporary romance, HER HOMETOWN MAN! She's very happy that she followed her own advice!
Note 2: As of July 2007, RWA no longer has "Publisher Recognition" standards, so small press authors like Cindy are now free to enter their published works in the RITA (let's see how long it takes her to final in that!)
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Dear Cindy,
Do you have anything written about getting your first book published by the "small press"? This may be something I want to consider and sadly, know very little about. I inferred that it was published as an e-book—not paper. Anyway, if you have written anything about that particular journey, please let me know.
Super Writer
Dear Soup,
You're right, I haven't written anything about my small press journey. Allow me to rectify my mistake! Oh, first, HEAD OVER HEELS was actually published in both trade paperback and e-book formats. There are several small publishers out there publishing print versions. A careful perusal of each publishers' web sites and FAQ pages will help you determine which. I'd go and look for you, but I'm too lazy.
My journey as a small press author...
It all began with a certain, shall we say, milestone birthday. Basically, I grew sick of getting rejected by category romance publishers for myriad and sundry reasons, none of which seemed related to quality of writing, but, rather, to market changes and my uncanny ability always to have a manuscript in the Wrong Place at the Wrong Time and, while we're at it, with the Wrong Editor for Said Particular Manuscript. Yes, I know, it's a familiar story, but I decided to take action. Electronic publishing was in its infancy, and at the turn of the new millennium this new and highly anticipated industry appeared set to skyrocket. I decided I wanted to get my work in front of reviewers and readers and garner their reactions instead of just listening to editors and agents (note: I'm all for listening to publishing professionals, but my personal frustration quotient with traditional publishing was at an all-time high). My critique partners kept assuring me I had talent—why wasn't I selling?
So I contracted HEAD OVER HEELS (originally written for Harlequin's Love & Laughter line, which, sadly and coincidentally I'm sure, died the very month I submitted) with the first of three small presses. This initial venture was not a good experience. After eight months with no editorial contact and no release date in sight, I terminated the contract and soon afterward signed with Publisher #2. My experience with P-2 was phenomenal in many areas. My editor loved the book, and the editing experience was fairly painless but also extraordinarily educational. My cover artist worked hard to deliver a cover that met e-publishing and trade paper expectations while also satisfying my own vision. And, best of all, when the book came out simultaneously in trade paperback and e-book editions, it received several five-star reviews and accolades from readers (luckily, those who thought the book sucked chose not to inform me, and I did receive one horrid review, but the thirteen good ones more than made up for it). FINALLY, what I'd been waiting for: confirmation from someone(s) other than my critique partners and contest judges that I was doing something right! My story might not have fit the needs of traditional publishing at the time, but at least it wasn't crap! Yippee! Time for the money to roll in! Right? Right?
Wrong.
Piece of advice for anyone considering small press: Don't do it for the bucks. Fortunately, for myself, money wasn't a consideration for the initial publication of HEAD OVER HEELS. I wanted validation, a foot in the publishing door, and a learning experience, and I got all three. So despite the fact that the bright future of e-publishing didn't materialize...well, that we're still waiting for the market to explode...or even just mushroom a tiny bit...I have not and will never regret one minute of my small press experience. And, in a way, it's not really fair for me to say one can't make money in small press. Just because I didn't make much moola doesn't mean your book won't sell like hotcakes. P-2 discovered that, for them, cross-genre books were their best sellers. Straight romance could not compete with the selection and prices available in brick-and-mortar stores. In general, romance readers have been excruciatingly slow to warm to e-publishing and small press offerings, unless you're talking erotic romance, and then, man, yowza, is that market hot!
When my contract expired, I left P-2 for a number of reasons, none of which seem kosher to detail here. And now I've signed with P-3 for the re-issue of the same book. Why? Because I want it back on the shelves, cyber or otherwise. Because I want to compare publishing experiences. Because I want to share my vision and my stories with readers. Because I believe in myself, no matter the response of traditional publishing channels to my work.
So why haven't I published a second small press book? A very good question! Okay, I'll admit that while money wasn't a consideration for publishing HEAD OVER HEELS, to me the logical next step was Selling to a Big House. I looked upon my small publishing experience as a stepping stone toward my ultimate goal, not a destination in itself. In retrospect, I still haven't decided if entering small press publishing for stepping-stone purposes was wise. Yes, I got my work out there to an enthusiastic (though admittedly miniscule) readership, but the readers who have clamored for a second book have been left disappointed. Many have let me know they're still waiting. Will I submit another novel to a small publisher? With the right manuscript and under the right circumstances, I would. I'm just not there yet. At the moment, several Big House carrots are dangling just out of my reach, and I want to focus my efforts on that arena. But never say never....
What are the benefits of e-book and small press publishing? Perhaps the greatest is creative control. Small press and e-editors are generally not required to tailor the manuscripts they edit to a "line." If it's good, it's good! If it needs work, it needs work, but that "work" is intended to bring the story up to a particular press's publishing standards, not force it into a preconceived line concept (note: I have nothing against publishing lines—just trying to answer your question). Working with a small press cover artist is usually a pleasure. The writer compiles an Art Fact Sheet in detail, and, once the cover draft is complete, the writer generally has at least one chance to ask for changes—a practice that, to my knowledge, very rarely occurs in traditional publishing. And, in the e-/small press industry's infancy, the waiting times to hear on submissions, the length of time from signing the contract to getting your book out to readers, was very short. Sadly, these days, e-publishers and small presses are so inundated with submissions that wait times are growing longer. The royalties... Well, the royalty percentages.... Royalty percentages of 30%-40% are not uncommon in small press and e-publishing, compared to the minimal 6%-8% standard of the big houses. But, let's be frank, if your small press book isn't selling like hotcakes, 30% of Not Much is still Not Much.
The negatives? Urk, I kinda stuck in a couple up there. Okay, let's ignore that. In my experience, a lot of small presses go into business without a solid plan or the finances to back them up if trouble occurs. The presses that do offer print and e-books can find themselves in a scary situation when dealing with traditional print distribution outlets. A big house can afford to print thousands more books than required and take "returns" from distribution networks if the books don't sell. Most small presses have difficulty in this area, particularly if they go to print with too many books too fast. The readership—the boom expected at the turn of the new millennium—has yet to happen. When e-books finally are accepted by the general reading public, however, who will benefit? The small presses that are so willing to try new genres...or the big houses? I have a sinking feeling it won't be small press. But that's a whole 'nother topic and one I'm not eager to get into....
In the end, each writer must determine for her or himself if publishing with a small press will benefit their career or help them achieve their personal writing goals. The reasons for choosing to go this less-traveled route are as varied as the writers and their stories themselves. There is no right or wrong answer. Individuality is a huge component of e-publishing and small press, so the choice is up to the individual—you. Don't let anyone ever tell you otherwise.
©Cindy Procter-King, September 2004
Note: Thanks to Amber Quill Press being a great publisher to work with, Cindy has now released a second novel with them.
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Dear Cindy,
I recently finished my first novel and sent it to the publisher of my dreams. Now my on-line friends are telling me first books generally don't sell and I should get working on the next one. As you can imagine, this distresses me greatly! Please tell me, oh, mighty writer, what's the secret to selling?
Anxious & Agitated
Dear Aggie,
Mighty writer? :::blush::: Aggie, you are too kind! It's almost as if I put those words in your mouth!
Sadly, dear Aggie, I'm not aware of the statistics of first manuscripts selling. Understand, I'm speaking of romance manuscripts, considering that's my area of "expertise" (you can decipher what the quotation marks mean for yourself<G>). However, I have been in this game a while, and my esteemed opinion is that your friends are right (sorry). While I have heard of some lucky writers selling their first manuscripts—and kudos to them!—the majority of us hit our heads against the publishing door several times before it opens. In fact, some of the hottest names in romance right now suffered multiple rejections before selling.
What is the secret to selling? Well, I don't know of just one. In my opinion, there are three. I call them TPT: Talent, Persistence, and Timing. Considering I listed Talent first, some might believe I think it's the primary ingredient to selling. Alas, I don't. I've known many a talented writer who has never sold, because the second T—Timing—has never come together for them and they didn't Persist long enough to allow it to. All the talent in the world won't get you anywhere if you allow market conditions and/or rejections to beat you into submission. So while Talent is important, in my opinion it's not the most important of the three. And, no, I'm not just saying this because I think I'm talented<G> and yet I still haven't sold to a major house. I'm saying it because it is, quite simply, true. Talent isn't enough. You also need Persistence or Perseverance or Refusal to Give Up—whatever you choose to call it.
Alas, Persistence can only get you so far, as well. I mean, when you think about it, if you have Talent and you Persist long enough, sooner or later you will sell. You might sell to a big house straight off (that's not to say with your first manuscript, but the first one you sell), or, like moi, you might sell to a small press first. If you persist, it will happen...once the last and trickiest element comes into play. Yep, you guessed it. That's Timing.
Why do I think Timing is the trickiest element? (Note I did not say Timing is more important than Persistence, and this is because I haven't fully decided if it is myself, but I do think it is just as important). Timing is the trickiest element, because basically it is the element over which the writer has no control. Some writers are born with talent; others study and learn their craft and thereby develop their talent. Persistence isn't the trickiest element, because it's a no-brainer. Those who don't give up are most likely to succeed, because when the Timing is right, their manuscripts are there, ripe for the picking. Example A, the paranormal market enjoys a resurgence while your manuscript (which has been sitting in the slush pile for two years) happens to get read by a paranormal-hungry editor. Example B, a new category line opens up that perfectly suits your voice and stories, and you have the perfect manuscript already polished and ready to go. You submit it, and voila—you have a sale. It might seem like you're an overnight success when in reality you had the Talent and you've been Persisting all along, but the market Timing wasn't optimal for your personal writer's journey.
And that's what it is—a personal and individual journey. You'll make it, Aggie, when the Timing is right. However, no one, least of all you (remember, you have no control over the Magic Timing Dust), knows when that will be, so in the meantime quit fretting and do as your friends suggest. Forget about that first manuscript waiting to be discovered by the perfect editor. If it's Time is now, it will sell. In the meantime, write Numbers Two and Three, even Four and Five if you need to. And keep submitting.
Lastly, let me know when it happens, so I can give you a cyber-toast!
© Cindy Procter-King, November 2003.
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Dear Cindy:
Are you a POV slut or a PURIST?
Ruminating in Rhode Island
Dear Rhody,
You might want to re-think bandying about highly specialized writing terms like "POV slut" (who coined that darn term, anyway?) Some might not understand where you're coming from and take offense. Luckily, I am not one of them! However, in the event that some Non-Understandees are reading this column, let me preface my answer by explaining that "POV slut" refers to a writer switching Point of View (ie. which character is telling the story, whose "head" are we in, yadda) whenever she feels is appropriate (or whenever the heck she wants!) The polite term is headhopping, and it can be accomplished seamlessly (or, ahem, not).
Like you've noticed (if you're clever), any writing technique (if overused or sloppily done) can become annoying and risk drawing you out of the story (or column, as the case may be).
Heh, heh.
On to PURIST: Purposely Utilizing Regulated Instances of Stylistic Technique.
Sounds so much more socially acceptable, doesn't it?
POV purists generally restrict themselves to the point of view of one character per scene or chapter (or, in some cases, for an entire book). So Hero might get Scene A, then Heroine gets Scene B, then Hero gets Scene C (or Heroine or Heroine's dog or Hero's butler might get Scene C). But headhopping never ever under any circumstances occurs.
Okay, now that we've got my oversimplified explanations out of the way, I can tell you I'm a Slurist. I do lean more toward the Purist. In fact, I'm practically a Purist (from my point of view, anyway). I usually stick to one POV per scene. However, there is the odd time I'll feel the need to include both the hero and heroine's point of view. In these cases, I'll switch point of view maybe once in a scene, usually about halfway through, and then I'll remain in that viewpoint for the duration. The very rare time, I'll switch from character A to character B and then back to A again. However, I don't think I've done that in at least a couple of books. I get more caught up in books written with one POV per scene, so it only makes sense that I get more caught up in writing them, too.
As to why I'm a POV Slurist? Well, that's simple. Because I want to be. <G> There's a whole 'nother issue regarding what is termed "Deep POV," but you didn't ask about it so I'm not gonna get into it or pretty soon I'd run out of web site—and what a sad world that would be (depending on your POV).
©Cindy Procter-King, April 2003.
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Dear Cindy,
How do you deal with rejection?
Sulking in Silk Panties
Dear Sulking,
Ah, rejection...the bane of a writer's life! Sulking, I feel your pain. Personally, I like to give Rejection a swift kick in the keister, reject the rejection so to speak. That's not to say I think you should ignore your rejections. Au contraire. Many valuable gems of editorial advice are often contained within. It's when a writer allows her rejections to consume her that she winds up in trouble. You know what I mean. Not writing for months. Putting a voodoo hex on the editor. Eating ten pounds of chocolate....
Well, the chocolate's okay. The chocolate can help you get through it. Your waistline might reject you as a result, but we all have our crosses to bear.
Seriously, rejection is difficult to deal with. Especially the first few. Believe it or not, the more rejections you endure, the easier they are to handle—as long as you take the right attitude. That means trying your darndest to see a rejection for what it honestly is: a milestone on the road to getting published. Very few writers sell a book without experiencing at least one rejection. Many of us experience several—and they don't necessarily stop once you've sold. So here's what I do:
Have a Rejection Day. Well, I have a Rejection Two to Six Hours, but that doesn't sound as good, so I'm going with Rejection Day. During my Rejection Day, I fully indulge the complete and total injustice of the rejection. I cry, I sneer, I refuse to open the envelope (I can tell by its thickness what's in there). If I have Pringles handy, I snarf 'em. Grab the kids and head to McDonald's (they make the best fries). I blubber all over my husband, email my critique partners, rail "Why me?" and shake my fist at the universe, then email my critique partners again. No pretending. By reveling in my rejection, I absorb its power. It's just a piece of paper. Maybe the editor didn't connect with your voice; maybe your story really needs work; maybe it's just not your time. But your time will come...if you keep writing and keep submitting and keep risking that you'll get rejected. Because your only other choice is guaranteeing that you'll never achieve your dreams—by not writing or submitting and therefore not risking more rejections.
I'm not saying it's easy. It's not. It's damn tough. But it works.
And now I must run—literally. I received a rejection a few days ago and I have enough French fries in my belly to open my own franchise. So I'm grabbing my jogging shoes and heading out the door...until the next rejection.
Care to join me?
©Cindy Procter-King, February 2003.
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