Cat Winters On the Submission Experience

I managed to cobble together a few non-specific questions that some debut authors have agreed to answer (bless them). And so I bring you the submission interview series - Submission Hell - It's True. Yes, it's the SHIT.

Today's guest is a fellow member of the Lucky13's, a group of YA novelists who debut in 2013. Cat Winters is the author of In the Shadow of Blackbirds, the story of a teen girl mourning the loss of her first love in 1918 California, where a flu has turned deadlier than a world war, and spirit communication has become a dark and dangerous obsession. The novel will be illustrated with early-twentieth-century photographs and is slated to be published by Amulet Books in Spring 2013. Cat is represented by Barbara Poelle of the Irene Goodman Literary Agency. Cat can also be found on Twitter and Facebook.

How much did you know about the submission process before you were out on subs yourself?

I had been out on submission with two adult fiction manuscripts that never sold before I even wrote In the Shadow of Blackbirds, so I already knew quite a bit about the process. My first experience with having a book out with publishers occurred thirteen years ago and involved an entirely different agent. I didn't find any differences between trying to sell YA fiction versus adult fiction, aside from the fact that I learned what it's like to actually receive an offer!

Did anything about the process surprise you?

Speaking to that first experience, what surprised me most was how much a book's genre could affect its potential. At the time, I was trying to sell mainstream historical fiction for adults, but historical fiction was considered a dead market. I received glowing rejection letters from editors, saying, "I couldn't stop reading this book, even though I knew I'd have to turn it down." There's no way to predict when a market will be "hot" or "dead" or "oversaturated," so I found that particular reason for a pass extremely frustrating.

Also, I was surprised to learn that not all agented manuscripts find publishers. As many authors will tell you, it's not always your first books that sell, even if you're represented by extraordinary, superhuman agents.

Did you research the editors you knew had your ms? Do you recommend doing that?

I only researched the editors who took a serious interest in In the Shadow of Blackbirds. I felt like I was jinxing myself by doing so, but curiosity got the best of me. I'd discourage researching an editor before he or she shows actual signs of potentially buying your book. It becomes a waste of your time and energy.

What was the average amount of time it took to hear back from editors?

With In the Shadow of Blackbirds, the turnaround time was fast. Amulet made an offer on the book less than two months after they received it, and I knew about their interest even sooner.

From my past experiences, though, I'd say the "we're just not interested in this book in the slightest" types of passes came within a month. If an editor showed signs of liking the manuscript, it could take up to six months before we heard a response, and those were still rejections. Keep in mind there are numerous factors that can delay a publisher's decision—vacations, illnesses, jury duty, book fairs, etc. And it takes an entire editorial board, not just one editor, to approve the purchase of a book.

What do you think is the best way for an author out on submission to deal with the anxiety?

Like everyone always says, keep busy. Write. Blog. Get caught up on your household to-do list you were putting off when you were polishing your manuscript. Read. Take a yoga class. Spend more time with your family and friends. Commiserate with other authors going through the same process. Just try not to watch the clock and wonder when that call will be coming. It always comes when you're not expecting it.

If you had any rejections, how did you deal with that emotionally? How did this kind of rejection compare to query rejections?

The difference with rejections at this stage is that sometimes you hear how ridiculously close you were to getting a yes, which can drive you crazy.

If an editor gave me constructive feedback about how I could improve my book, I greatly appreciated the advice and discussed it with my agent. However, there are often generic "It wasn't for us" sorts of passes, and those you just have to shrug off. Eat some comfort food, take a long walk, and then get right back into your writing chair and keep going.

If you got feedback on a rejection, how did you process it? How do you compare processing an editor’s feedback as compared to a beta reader’s?

I always got my agent's take on the feedback. If she said, "Okay, that editor just didn't get the book," I filed the rejection away and moved on. If an editor addressed a concern that continually came up, I would definitely try to figure out how to incorporate the suggestion. The experience is very similar to working with critique partners, but with editors, opinions become a matter of selling or not selling a book. The stakes definitely feel higher. You have to figure out how much you're willing to change your book and potentially compromise your original ideas in order to give the novel a chance in the world.

When you got your YES! how did that feel? How did you find out – email, telephone, smoke signal?

I found out by telephone. I had just dropped off my son at his elementary school and was about to get the newspaper, when my twelve-year-old daughter opened the door to the house and said my agent was calling. My journey to this point had been such a long, grueling one that I had to hold onto the kitchen counter for support and went into a semi-state of shock when my agent said we'd received an offer. I was thrilled and grateful that my daughter was with me for that experience. She's read In the Shadow of Blackbirds, and she's shared me with my fictional characters all her life.

Did you have to wait a period of time before sharing your big news, because of details being ironed out? Was that difficult?

Yes, there was some waiting, which was difficult. I wanted to shout the news from the rooftops that very day, but I understood the need for secrecy when deals are being finalized. Instead, I bought myself some presents and took my family out to a celebratory dinner. I had been imagining that particular book-deal dinner for a very long time, and it was extraordinary.

Submission Success with Leigh Bardugo

If there's one thing that many aspiring writers have few clues about, it's the submission process. There are good reasons for that; authors aren't exactly encouraged to talk in detail about our own submission experiences, and - just like agent hunting - everyone's story is different. I managed to cobble together a few non-specific questions that some debut authors have agreed to answer (bless them). And so I bring you the submission interview series - Submission Hell - It's True. Yes, it's the SHIT.

Today's guest is Leigh Bardugo author of SHADOW & BONE, coming from Macmillan / Holt, June 5 2012. Inspired by Tsarist Russia, SHADOW & BONE brings to life a fantasy world of superstition and science, saints and samovars, in which a lonely refugee must leave behind her best friend– and first love– to save her country from the growing darkness of the Unsea. But first she must contend with the dangerous and decadent world of the kingdom’s magical elite and their powerful leader, a creature of dark charm and deadly ambition.

Leigh's blogs over at Last Leigh (how clever is that?), and she's also on Twitter.

How much did you know about the submission process before you were out on subs yourself?

Nothing. I wasn't yet active in writers' groups or online forums so I was woefully under-informed.

Did anything about the process surprise you?

I hadn't expected that I would have opportunities to chat with editors interested in my book. It makes perfect sense, but I think I'd just assumed that the manuscript would get to do all of the talking. The calls varied widely. Some editors asked questions about the book-- the inspiration, plans for the series. Others discussed how they responded to the story or their approach to launching a new title. Basically, sometimes you feel like you're auditioning, and sometimes you feel like you're being courted. Either way, it's exciting.

Did you research the editors you knew had your ms? Do you recommend doing that?

Yes, particularly if I had calls scheduled with them. It's important to know what projects an editor has worked on. And it can't hurt to find out what kind of success a house has had with titles like yours. (Many editors now tweet and blog so you can get a feeling for their tastes and sensibilities that way, too.) Personally, I find research comforting. When you're working on the ms, you're all-powerful. You're the author and that story belongs wholly to you. But as soon as you click send on the first query or mail out that first envelope, the power dynamic changes completely. It's easy to feel helpless or freaked out, so arming yourself with information can help take the edge off.

What was the average amount of time it took to hear back from editors?

If I remember correctly, we started getting calls and requests for synopses of the second and third books in the trilogy just a few days after we went out. We had our first offer by the next week. That was right before Thanksgiving. The next offers came pretty quickly after the holiday and soon we were on our way to auction. I'd prepared myself to hunker down for a long wait so the speed with which it all happened was really thrilling.
(This may go without saying, but I just want to point out that the process doesn't always go this smoothly. I had the help of a phenomenal agent, and I also got very lucky. I don't want people who are in the trenches to get discouraged if things don't happen right away.)

What do you think is the best way for an author out on submission to deal with the anxiety?

Consider a medically induced coma. If that isn't a possibility, stay busy. I did a lot of baking and cooking. I'm not particularly good at either, so they tend to keep my brain occupied. If you have a new project to work on, dive in. Also, if you have friends or relatives keeping the watch with you, then you may want to institute a "When I have news, I'll tell you" policy and ask them not to inquire.

If you had any rejections, how did you deal with that emotionally? How did this kind of rejection compare to query rejections?

Because we went to auction so quickly, I think I was spared the worst of it. When editors passed or chose to drop out of the auction, the news came through my agent who served as both a buffer and a comrade in arms. (Notice how military metaphors keep coming up?) Querying is a lot lonelier.
But I will say that the terror before the first offer was really profound. Keep in mind that, because of the way querying works, a few rejections from agents were still straggling in after I'd signed with Jo. Every single one of them stung. They became a kind of Greek chorus in my head, "We're right. She's wrong. You suck."

When you got your YES! how did that feel? How did you find out – email, telephone, smoke signal?

I was in the produce section of Whole Foods when my agent called with the first offer. I made a sound that was somewhere between a shriek and a yelp. Let's be honest, I may have squawked. Then I left my cart by the apples and went outside to hyperventilate. The knowledge that I was actually going to be a published author absolutely rocked me.

From there, things just got crazier and better with every passing moment. But even after the final offers were in, even after the deal was made, some part of me still thought that everyone at Macmillan/Holt would wake up the next morning with an acquisitions hangover and say, "What the hell did we just do?" I had a similar fear when I turned in Book 2 of the trilogy to my editor. I suspect I'll feel the same way when my book ships to stores. I don't think that insecurity ever goes away.

Did you have to wait a period of time before sharing your big news, because of details being ironed out? Was that difficult?

I had to wait until the announcement was made in Publisher's Marketplace to talk about it publicly, but I was able to tell the people closest to me before then and that was what really mattered.
The night we finalized the deal, my friends threw a little dinner party for me. We drank champagne and danced like crazy around the living room and made weepy toasts. It was all just beautiful because these were the people who knew how much this book meant. They'd been on the journey with me-- not just from draft to agent to deal, but long before.

I put a picture up on my blog a little while ago. It's a fairly hilarious drawing that my best friend made for me when we were 14 years old. It's me at a book signing. Excluding a brief period in the fourth grade when I was sure I would become an astronaut/fashion designer, it's not exaggerating to say that this is what I've always wanted. Waiting a few days to tell Facebook that all my dreams were coming true didn't make much difference.

Whirlwind Submission Success with Claire Legrand

If there's one thing that many aspiring writers have few clues about, it's the submission process. There are good reasons for that; authors aren't exactly encouraged to talk in detail about our own submission experiences, and - just like agent hunting - everyone's story is different. I managed to cobble together a few non-specific questions that some debut authors have agreed to answer (bless them). And so I bring you the submission interview series - Submission Hell - It's True. Yes, it's the SHIT.

Today's guest is Claire LeGrand, author of THE CAVENDISH SCHOOL FOR BOYS AND GIRLS, which features 12-year-old Victoria Wright. Everything about her gleams, from her perfect grades to her perfect blond curls to her spotless bedroom. But when her best friend Lawrence disappears, Victoria must learn how to lie, sneak, and break the rules to save her beloved hometown from the evil clutches of Mrs. Cavendish, who runs the local orphanage.

How much did you know about the submission process before you were out on subs yourself?

I knew virtually nothing. I had to ask my agent, Diana Fox, a lot of questions! All I knew was the general idea: We send the manuscript to a handful of editors based on who we think would be the best fit for my book, and they either like it and make an offer or don’t like it and pass—much like querying for agents! I’ve learned a lot about this process, and I’m still learning. I don’t think that, as an author, you ever stop learning!

Did anything about the process surprise you?

Not really. I mean, based on the general idea I had about how this was supposed to work, it all unfolded as I expected. Looking back, I’m surprised about how quickly it happened, but at the time, I really didn’t know how long it could take, so that didn’t seem especially noteworthy to me.

Did you research the editors you knew had your ms? Do you recommend doing that?

I did a little bit, just because I was curious—but, again, it happened so fast that I didn’t have time to do a lot of research or get obsessive about it. I was working at the same time, too, so that kept me distracted. I did speak with Diana before the MS went out, and she explained her reasoning in selecting these editors, which was nice. Just as a general rule, I don’t see anything wrong with researching editors! I figure it’s best to know as much as possible about the industry and the people in it.

What was the average amount of time it took to hear back from editors?

If I remember correctly, we started hearing back from people the very next day. Diana kept me updated every step of the way, which was exactly how I wanted it. We got our first offer in three days, and it went to auction a few days after that!

What do you think is the best way for an author out on submission to deal with the anxiety?

Let’s say that, for me, this process had taken longer. I know I would have started experiencing anxiety, much in the same way that I experienced “waiting anxiety” while querying agents. The best thing you can do, in either of these situations, is stay busy—keep writing on other projects, focus on work/home life, read, and KEEP WRITING. Nothing keeps your brain occupied more effectively (and productively!) than diving into the next project while you’re waiting on something to do with the current project.

If you had any rejections, how did you deal with that emotionally? How did this kind of rejection compare to query rejections?

Again—and I’m sorry I keep saying this!—it all happened really quickly for me, so there wasn’t a lot of time to dwell on rejections. I did receive them, but they were nice and complimentary, so that helped soothe the sting. One rejection was because the imprint felt they already had a title with a similar tone, so that wasn’t a reflection on the quality of my work at all. These rejections didn’t hurt nearly as much as agent rejections, mainly because at this point, I had someone on my side. I had an agent, someone who believed in me and my work, and that’s a level of validation most writers don’t have while querying.

If you got feedback on a rejection, how did you process it? How do you compare processing an editor’s feedback as compared to a beta reader’s?

Any feedback I received, Diana relayed to me over the phone. We discussed any specific ¬items and made note of them for later. Some of these items actually turned up in the editorial notes of my eventual editor, Zareen Jaffery! But, just like with beta readers or, beyond that, general readers in the public, everyone’s tastes differ. Whenever I received feedback on this project—whether it was from an editor during the submission stage or from a beta reader during drafting—I considered the suggestion carefully and decided whether or not it was worth incorporating. Obviously, an editor’s feedback carries more weight, simply because…well, they’re professional editors! But I always thoughtfully consider every bit of feedback, no matter the source. I even kept the feedback of the passing editors in mind as I went into revisions!

When you got your YES! how did that feel? How did you find out – email, telephone, smoke signal?

Because this happened so quickly, I was in this perpetual state of numbness, as though watching it happen to someone else from a distance. I couldn’t believe it was actually happening! Each time we got an offer, Diana told me over the phone, and I was of course elated—but I don’t remember jumping around and squealing or anything. I was just too overwhelmed! I remember saying, “WOW” a lot. And staring at the phone in disbelief. And calling my mom to say, “Okay, I think this actually just happened, but…I’M GONNA NEED YOU TO PINCH ME.”

Did you have to wait a period of time before sharing your big news, because of details being ironed out? Was that difficult?

I did have to wait for…maybe a couple of weeks? A few days? Gosh, I don’t remember! This really was such a crazy whirlwind! But no, I didn’t have to wait long. It was difficult waiting even those couple of weeks, though. I felt like I was about to burst any second, and when the announcement did finally go live, the release of anticipation made me shake and sweat for like an hour straight, like I had just completed the most awesome marathon in the universe or something.