A Bounty of Riches – Part 2 (Getting Published)
Back in July of last year, I was headed to the beach for a family vacation when I got The Call from Cynthia, my literary agent: we’d received an offer for my fantasy novel KINGLET. In fact, we’d received two offers.
To say I was gobsmacked would be putting it mildly. I had been anticipating a quiet week of sun and sand but instead, my stress level began to ramp up. I was excited, of course – who wouldn’t be? – but how can one relax at such a time?
Two offers – both from small, independent publishers. Publisher #1 was a brand-new outfit, based in Atlanta, with a real go-getter attitude and waving a contract that included a nice advance and a generous royalty split.
(For those unfamiliar with the world of publishing, an advance is a sum of money paid to the author up front, in anticipation of book sales. Royalties are the monies – usually a percentage of the book’s cover price – paid to the author from those sales. If an author receives an advance, their book must “earn out” its advance before the author receives any additional money – in other words, if Author gets a $1k advance, their royalties are withheld until Publisher recoups that $1k from the book’s sales.)
Publisher #2 was based in Alabama, with a two-year track record, offering a decent but less-generous royalty split and no advance. On the face of it, this looks like a no-brainer choice, right? Choose the one offering the most money, right?
Actually, nope. Further study of Publisher #1’s contract revealed that their royalties were based on net profit – meaning that certain expenses had to be recouped before royalty payments began. This is a business model one sees fairly often in new, undercapitalized publishers. It’s a bad deal for the author, because in this scenario the author ends up paying for the publisher’s cost of doing business. I’ve seen some publisher business models wherein the cost of cover art, editing, printing, marketing and distribution are all creamed off the top before the poor author sees a dime.
In the case of Publisher #1, they wanted to recoup the cost of printing the paperback edition of my book. They were planning on using offset printing rather than the more common small-publisher print-on-demand (POD) process. However, while it results in a higher-quality book, offset printing is far more expensive than POD, and in this case, was projected to cost more than double the advance Publisher #1 offered. This meant that the book would have to make more than three times the advance before I’d be paid a cent of that generous royalty split. This, coupled with the publisher’s lack of real experience in the business, made me leery of the deal.
I should add that all these negotiations were ongoing via email and phone calls while I was supposed to be relaxing in the sun (ha), and I complicated matters further by first cracking the screen of my laptop (I closed it on one of my headset’s earbuds) and then dropping my brand-new HTC 10 cellphone in the toilet (I was carrying it with me everywhere in case of phone calls from my agent, and had it in the back pocket of my jeans when I went to answer a call of nature). The phone immediately died, which resulted in a near-meltdown from me – thank goodness for my husband John, who took all the appropriate steps to activate the phone’s “Uh Oh” warranty (was ever a contract clause so aptly named?).
The upshot of all this drama was that I opted for Publisher #2, Fiery Seas Publishing. I signed with them for both KINGLET, the first book in my fantasy series (to be released in August 2017) and its sequel, FISKUR (to follow three to four months after KINGLET). The ink was barely dry on the contracts before the publishing process started. I was assigned an editor, filled out a lot of paperwork to assist in the marketing and promotion of the books, and spent several days writing and rewriting what would eventually become both the back cover copy for KINGLET and the meat of Fiery Seas’ October press release announcing the acquisition of the books. The publisher provided me with some nice art to accompany my own social media blast on announcement day, and meanwhilie my editor Vicki forwarded her first editing pass on KINGLET to me, along with her compliments on how clean and tight the manuscript was. It was small comfort as suddenly everything I’d written seemed awful and I was sure I was a talentless hack. Vicki was incredibly patient as I made a number of tweaks and returned the m/s for its second editing pass.
For once I was grateful that my 2016-17 theatrical slate was pretty bare, with only a summer show, a holiday production and a few miscellaneous gigs on the books. Even though that meant I wouldn’t be making much money, it translated to more time for both the publishing process and to continue writing on the series. As the holidays approached, I finished the third book, fired it off to my trusty beta readers, finalized Vicki’s second pass on KINGLET and her first pass on FISKUR.
And then I booked WAR PAINT.
Suddenly my time was no longer my own. In the space of a few weeks, I had to complete the run of my holiday show, negotiate the WAR PAINT contract, travel to NYC to look at potential sublets, and upend my life in general, while trying to enjoy Christmas and New Year’s (ha). I signed a one-year contract for the show and prepared myself for the move to NYC, all the time driving myself crazy with worry over how I could learn and rehearse a Broadway show AND maintain my commitment to Fiery Seas AND keep writing the rest of the series.
Once again, the upshot of all this drama is that I could, and did. Because Vicki had kept us so far ahead of schedule, I was able to complete the second round of edits on FISKUR and review the galley proofs for KINGLET without undue pressure, as well as work with my publisher and cover artist on the covers for both KINGLET and FISKUR. (If you float your cursor over the “Writing” tab above, you can click on KINGLET to see that beautiful cover, but you’ll have to wait a while for the FISKUR cover reveal. Trust me, it’s equally gorgeous.) I’m currently working on the final draft of STONEKING, the third book in The Gemeta Stone series, with book #4, RAGIS, already in rough draft form.
Everything continues on track for WAR PAINT’s April opening and KINGLET’s August 2017 release. I’m still overwhelmed by it all, but so grateful for both opportunities. As tiring as it’s been, and often nerve-wracking, I know how lucky I am to be experiencing not one, but two huge life events at the same time.