CJ Redwine On Multi-Tasking

I'm lucky (or cunning) enough to have lured yet another successful writer over to my blog for an SAT - Successful Author Talk. SAT authors have conquered the query, slain the synopsis and attained the pinnacle of published. How'd they do it? Let's ask 'em!

Today's guest for the SAT (Successful Author Talk) is CJ Redwine, the New York Times bestselling author of YA fantasy novels, including The Shadow Queen, The Wish Granter, and the Defiance trilogy. If the novel writing gig ever falls through, she’ll join the Avengers and wear a cape to work every day. The Traitor Prince, third in the Ravenspire series, releases this week!

Are you a Planner or Pantster?

A planner, to a degree. I have to know the basic shape of the story and what happens at the end so I know what to aim for. I write out a long synopsis before starting the story so I can figure out the characters, the backstory, and the major turning points of the novel. Then I play connect the dots between the turning points as I write. I don’t really know what happens between those turning points until I write it. 

How long does it typically take you to write a novel, start to finish?

About 3 months of work before I write and then another 3 months of actual writing. 

Do you work on one project at a time, or are you a multi-tasker?

I multi-task … kind of. I work hard on writing one project at a time, but I’m always doing the legwork on about 8 other projects while I’m writing my current one. I might be jotting notes on worldbuilding, tossing songs onto a playlist as I hear them, or writing out quick bits of dialogue and saving all of it to a file I can open when I’m ready to actually sit down and write that story from start to finish. 

Did you have to overcome any fears that first time you sat down to write?

I have to overcome fears every time I sit down to write. There are very few days where I sit down and think “I’m good at this. I can do this. It’s going to be great.” Most of the time, I have to tell myself “I can fix this. I just need something on the page or I won’t have anything to fix.”

How many trunked books did you have before you were agented?

One full draft before I was agented (several started that were never finished). And two trunked novels AFTER I was agented because they didn’t sell. 

Have you ever quit on an ms, and how did you know it was time?

Not since I got serious about being published. Now, I finish what I start.

Who is your agent and how did you get that "Yes!" out of them? 

My agent is Holly Root of Root Literary and she is made of unicorns, cookies, and steel. I actually queried her because a fellow writer friend was agented by her and suggested that we’d be a good fit. I queried about 10 agents in that particular pass (I always queried in small batches so I could tinker with things if I wasn’t getting results.). Nine of them said no pretty fast. Holly took another three months to reply, but when she did, she asked for a phone call to discuss the book. I nearly died of anxiety and excitement. The call went well for both of us and at the end, she offered representation, and I accepted. That was nine years ago. 

How long did you query before landing your agent? 

I queried for two years before signing with Holly. A year and a half were spent querying a book that will never (and should never! Ack!) see the light of day. Six months were spent querying the book that got Holly’s attention. 

Any advice to aspiring writers out there on conquering query hell?

Be professional online at all times (no bashing those who reject you!), query widely, and don’t be afraid to shelve a manuscript or a query that isn’t working and do something new. Also write a new project while you query. Not the sequel to what you’re querying, because if that doesn’t sell, you’ve got nothing new to send out. 

You can do this! So much of publishing, both before and after getting an agent or a contract, is basically shoveling mud out of a ditch—it’s hard, it leaves callouses, and it takes a long time before you see true progress. This is good practice for what comes next, and if you’re committed to working on improving your craft and you have the perseverance to stick it out, you won’t be in the query trenches forever. 

How did it feel the first time you saw your book for sale?

So surreal. It was both amazing and terrifying in this weird way. Like I thought maybe if I did something wrong, it would all disappear. 

How much input do you have on cover art?

Not much. I give input on initial design elements for the series as a whole, and then I give feedback on cover concepts they send my way, but thankfully there’s a team of incredibly talented people at my pub house who are far more qualified than me in creating amazing covers. They’ve been lovely to work with. I’m in awe of their skill!

What's something you learned from the process that surprised you?

That the more successful I become, the more afraid I am to write each new story.

How much of your own marketing do you?  

I do a lot of marketing, though my publisher does too. I just love marketing. I think it’s fun to promote books. (I own yabookscentral.com so I promote ALL the books, and it’s a blast.) I have a website, Instagram account, Twitter account, and three presences on FB: author page, regular page, and my fan group where I interact almost daily and offer sneak peeks, exclusives, giveaways, and more. 

When do you build your platform? After an agent? Or should you be working before?

I started building it before being agented. Really building a platform is just interacting in a genuine way with others who love what you love. Authors, readers, viewers of your fave tv shows and movies etc. It’s not enough to generate your own content. Social media is a give and take. It’s a conversation. So seeking out others who are doing content that interests you and interacting there (Authentically. Not popping in to say “buy my book!”) is the way to go. 

Do you think social media helps build your readership?

Absolutely. As authors, we are the brand. Books change, series start and stop, but we’re the constant. So having a genuine, interesting presence on social media helps draw readers to us. 

Dan Koboldt On The Importance Of A Mailing List

I'm lucky (or cunning) enough to have lured yet another successful writer over to my blog for an SAT - Successful Author Talk. SAT authors have conquered the query, slain the synopsis and attained the pinnacle of published. How'd they do it? Let's ask 'em!

Today's guest for the SAT (Successful Author Talk) is Dan Koboldt, who has worked as a research scientist in the field of human genetics and genomics. Currently, he's a principal investigator for the Institute of Genomic Medicine at Nationwide Children’s Hospital.  His debut novel THE ROGUE RETRIEVAL, about a Vegas stage magician who takes high-tech illusions of magic into a medieval world that has the real thing, was published by Harper Voyager on March 1st, 2016. The sequel, currently entitled THE ISLAND DECEPTION, published in February 2017, and the third in the series, THE WORLD AWAKENING, releases today!

Are you a Planner or Pantster?

Oh, I’m a pantser from way back. But I prefer the term discovery writer. I don’t start a book with no plan whatsoever. When I have an idea, I work out the central premise (how it starts) and I and I usually know how it’s going to end. It’s the stuff in between that I like to figure out as I go. 

When I started, I was a pure discovery writer. That’s one of the perks of being a new writer trying to break in. I had no deadlines, no contracts, and no reason to outline anything. That changed after my first book deal. I had to learn to write a competent outline for the as-yet-unwritten future books in the series. Luckily, I discovered Larry Brooks and his StoryFix 2.0 story structure. Outlines still don’t come easily to me, but now at least I have a decent framework.  

How long does it typically take you to write a novel, start to finish?

I’d say it’s usually 3-4 months, assuming that one of those months is November. I’ve been doing NaNoWriMo for almost a decade, and it contributes an important boost to my writing productivity each year. I wish I could write at that pace outside of November! I really admire authors who consistently write 2,000 words a day. 

Do you work on one project at a time, or are you a multi-tasker?

It’s easier for me to focus on a single project, but I rarely have that luxury. There were times this year when I was writing one project, revising a second, promoting a third, and pitching a fourth. It’s hard to keep them all straight! That being said, I’m the kind of person who enjoys multi-tasking, because not every activity stimulates me all the time. 

Did you have to overcome any fears that first time you sat down to write?

Nope. But I didn’t know what I was doing.

How many trunked books did you have before you were agented?

I wrote two books before The Rogue Retrieval, though I never queried them. I look at them as learning exercises that helped me become a writer. It’s always possible that I’ll go back to them someday and see if I can make them into something publishable. But it would take a lot of work, and I have newer ideas that get me more excited.

Have you ever quit on an ms, and how did you know it was time?

I’ve quit (or walked away) from a few projects, sure. Usually that happens when I look at something and realize that the emotional and physical cost of finishing them exceeds the benefit I’m likely to get in return. In other words, I decide that my time is better spent elsewhere.  

How long did you query before landing your agent?  

I researched the query process before I started, mostly because I found it fascinating. Thanks to the wonderful resources like Anne Mini’s blog (now defunct) and QueryTracker, I think I managed to avoid some of the common pitfalls of new writers. Of course, that doesn’t mean I got no rejections. I received plenty of them. If memory serves, I queried about 30 agents over the course of four months before getting an offer of representation.

Who is your agent and how did you get that “Yes!” out of them?

I’m represented by Paul Stevens of Donald Maass Literary Agency. The story of how we began working together is a bit convoluted. I landed my first agent through standard querying, and she sold my book to Harper Voyager in a one-book deal. After that, I was all set, right? Well, not so much. My agent and I had a falling out shortly after that was published. 

So I didn’t have an agent, but there was an option clause in my contract specifying that my publisher got an exclusive look at my next manuscript. Which, as it happened, I’d just finished: it was the sequel to The Rogue Retrieval. I sent it to him, along with an outline for a possible book three. My editor said, “Let’s do both.”

That two-book offer put me in a rare and much-envied position for a writer seeking representation. I reached out to a handful of agents (ones I really admired) to say that I had an offer and was looking for someone to handle the contract. Paul called me that afternoon. We clicked right away. He was familiar with my imprint at Voyager and knew it wasn’t a big money deal, but he offered anyway. 

Any advice to aspiring writers out there on conquering query hell?

The first thing I’ll say is that you’re not alone. Many of my writer friends whose work I admire are in the query trenches with you. I always encourage writers to query widely, and not to set their heart on one particular agent or agency. Keep querying until you find an agent who loves your book as much as you do. And while you’re doing that, write another book. Not a sequel, but a different book that you can query if the first one doesn’t find a home.

How did it feel the first time you saw your book for sale?

The moment for me was when I opened up a surprise package from my publisher, and found my advance copies inside. That was a great moment, and I’ve had many others since. Every time I see my book at a bookshop or in the library, I get the same thrill. I also get it when someone new reaches out to let me know they read and enjoyed my book.  

How much input do you have on cover art?

My publisher has been very good about this, and asked for suggestions. For The Rogue Retrieval, developed the concept art from a stock art image I’d suggested. Their cover artist does amazing work with the art, layout, and coloring. For The Island Deception, my editor sent me two different cover concepts. I loved them both, so I asked them to save one for book three. It turned out to be my favorite of them all.  

What's something you learned from the process that surprised you?

The kindness of strangers! So many people who didn’t owe me anything showed up to support my books. Obviously, my family and friends have always gone out of their way to help, but it surprised me how often strangers would lend a hand, too. Book reviewers are a great example. These people volunteer their time to read and review books, often on short notice. They’re the unsung heroes of the publishing industry, in my opinion. Several of them reviewed each of my books as they came out, simply because I asked. I’m a little surprised, and very grateful.

How much of your own marketing do you? 

I do most of it, which is the case for many authors. In 2016, the year The Rogue Retrieval came out, Harper Voyager published more than 70 titles. They have done a great deal to get the word out about my books, but they’ll never have as much time or dedication to them as I will. 

When do you build your platform? After an agent? Or should you be working before?

I think authors should not devote much effort to platform until they have not only an agent, but also a book deal. Until then, you don’t know for certain that you’re going to need a platform. Furthermore, you may not want to establish your brand until you know what your debut novel might be. 

For writers who haven’t gotten that far yet, it’s more important to focus on (1) writing, and (2) engaging the community. The latter is especially important so that you have a support network as you move forward in your publishing career. Some of my closest friends – and most ardent supporters – are writers I met before I broke in. Don’t worry about platform too early. Instead, find your tribe.

Do you think social media helps build your readership?

No. I think social media helps you engage your readership (hence the word social). It offers a wonderful, powerful tool to connect authors with the people who read their books. However, contrary to popular opinion, most people do not get their book recommendations from their social media feeds. Maybe if you’re fun and interesting online, someone is more likely to take a chance on your book. Word of mouth and reviews are far more powerful drivers of book sales.

Once there is a relationship (i.e. once a person buys your book), social media is a great tool to develop it. The reader enjoys access to an author whose work they admire. The author gets the comforting reassurance that someone out there read his book and cared about it. That’s a powerful thing. Social media is also useful for notifying fans about price promotions and future releases. 

It’s important to recognize that when you don’t pay to use an online service, you’re not the customer. You’re the product. Companies like Facebook and Twitter are making it increasingly difficult to reach your followers without paying for that privilege. They’re in this to make money, after all, not to serve humanity. Authors should thus focus on getting social media followers onto their mailing list. That’s the only way to guarantee that you can reach your fans when you need to. 

Sarah Henning on the Power of Social Media

I'm lucky (or cunning) enough to have lured yet another successful writer over to my blog for an SAT - Successful Author Talk. SAT authors have conquered the query, slain the synopsis and attained the pinnacle of published. How'd they do it? Let's ask 'em!

Today's guest for the SAT (Successful Author Talk) is Sarah Henning, who has worked for The Palm Beach Post, The Kansas City Star and The Associated Press, among others. Her debut, SEA WITCH, releases July 31st from Katherine Tegen Books.

Are you a Planner or Pantster?

I’ve always said I’m a decent hybrid of the two. I generally start with plot points that are pretty spread out and then allow my gut take over from there. I’ve found that my gut then surprises me with things I didn’t see coming between plot points, and if I’m surprised, my reader will be too. That said, the more books I write, the more I can see the forest for the trees in what I’m setting up. This has lead to more rat-a-tat-tat plot points before I write, but I still let my gut lead the way and change my plans at will.

How long does it typically take you to write a novel, start to finish?

My first drafts generally take anywhere from three to five months, depending on how complicated the plot is and how busy I am in the rest of my life. I also consider my first drafts to be pretty fully formed, so I’ll typically only revise for a week or two after that before shipping it off to my agent.

Do you work on one project at a time, or are you a multi-tasker?

I used to be a one project a time type-of-gal but having a book deal has changed that. I’m always working on something while waiting to work on something else, it seems. I think it keeps me sane to have a project to come back to while navigating rounds of edits on something else.

Did you have to overcome any fears that first time you sat down to write?

Nope. I’ve always wanted to be a novelist. I spent most of my early career in newspapers as a reporter and copy editor, so I’m used to having to come up with something solid in a very short amount of time. This seems to translate to fiction writing in that I’m never wandering around a scene, trying to figure out what I’m doing. I also tend to revise a lot as I go because of my journalism background. I like having my “first” draft as close to final as possible.

How many trunked books did you have before you were agented?

I had two that I wrote as an adult (and countless that I wrote as a child) that won’t ever see the light of day. The third book snagged me an agent, but the fifth book was the one that sold first. Publishing is definitely a long-haul journey.

Have you ever quit on an ms, and how did you know it was time?

I have one that I didn’t finish and I think it’s just because I’m still not sure how to write it. I know what I want to do but not the best way to tell the story. I’ll figure it out, but for now, it’s just got to sit and marinate.

Who is your agent and how did you get that "Yes!" out of them? 

My agent is the lovely Rachel Ekstrom of the Irene Goodman Literary Agency. She is rainbows and sunshine but a complete pit-bull when necessary. I was lucky enough to be a mentee in the very first year of Brenda Drake’s Pitch Wars contest. I received four offers as part of the contest and loved everyone I talked with, but Rachel just seemed to get my goals the most. She signed me for adult crime fiction but the first book we sold was a young adult fantasy—not every agent would’ve been down for such varied writing interests, but she has been, 100 percent.

How long did you query before landing your agent?  

The first two trunked manuscripts didn’t really get off the ground. I had the oldest of my two kids after I wrote those and they just kind of sat there while I tried to figure out the whole parenting thing. When I was ready to query that third book, I only did one small round before being chosen for Pitch Wars. 

Any advice to aspiring writers out there on conquering query hell?

Do your research—if you can afford it, a subscription to Publishers Marketplace is so invaluable in knowing what’s selling, to who and by who.

How much input do you have on cover art?

For SEA WITCH, I made a private Pinterest page with images of characters, places and symbols in the book and sent it to my editor at Katherine Tegen, the wonderful Maria Barbo. Maria has an MFA in painting and a fabulous eye and so I knew that wherever she went from there would be great. I didn’t worry a second. In the end, Maria and the Harper art department found this amazing artist named Anna Dittmann who drew the perfect cover art for it. PERFECT.

What's something you learned from the process that surprised you?

I don’t think I really understood anything about the way rights worked before my deal. I mean, I knew enough that I could ask questions, but I didn’t understand how nuanced subrights could be. It’s one of those things where it’s hard to understand until you’re out of the hypothetical situation and into a real one, I think. Unless, of course, your day job is as a lawyer!

How much of your own marketing do you?  

At the moment, I do it all myself. I probably spend the majority of my time on Twitter and Instagram. My husband is a web nerd, so he set up my website, but it’s nothing fancy. 

When do you build your platform? After an agent? Or should you be working before?

This is a trick question for me because I was a features reporter in my town before I ever got my agent. I covered food and even though it’s been years since I left the newspaper, I still get recognized at the grocery store by people who used to read my articles, columns and blogs. So, for me, I have a sort of weird tangential local platform. About a third of my Twitter followers can be attributed to my former life and the rest are writing-related.

Do you think social media helps build your readership?

I think it does. Honestly, after SEA WITCH’s cover was revealed on Twitter and Instagram, I had people from all over the world reaching out to me in a way that wouldn’t have happened without those two platforms. I also think Instagram is especially helpful in the YA book world because so many of our YA books are just SO BEAUTIFUL that people want to take pictures of them. I know I do and I know a lot of book people I follow do. And I think a well-done Instagram picture of your book's cover can go a long way in helping it find an audience.