Happy Birthday, In Cold Ink!

It’s been just over a year since I started In Cold Ink. Like most anniversaries, this seems like a good time to reflect on the experience.  As you can see in my first post, I started out with some trepidation. I juggle a lot of jobs, and when I write I’m prone to obsession.  I worried that a blog, in my hands, would become just one more thing to neglect. And you can’t neglect a blog.  It’s like babysitting the neighbor’s kid, except that you can’t plop the blog down in front of the t.v. and expect it to amuse itself.

But I had things to say, as a writer but also as a longtime publishing professional. Before I gave it all up to write my own books,  I was an editor in a large New York publisher and a literary agent. My career path has given me a multifaceted perspective on the industry, and I wanted to share some of what I’ve learned and demystify an industry that from the outside can seem remote, strange in its ways and potentially hostile.  I also wanted to learn from others. Publishing is an industry in turmoil, on the cusp of profound change, and I wanted to explore that evolving world.

The results have exceeded my expectations. A surprising number of readers found their way to the blog: nearly 24,000 visitors last time I checked. Many left comments, and I’ve met some smart, interesting people through the blog. I’ve had the opportunity to interview some publishing pros, who’ve shared valuable insights and perspectives, including literary agent Gail Hochman,  Viking editor Tara Singh, and Editor-in-Chief of S&S, Marysue Rucci. Among the writers who’ve graced my doors are Diana Gabaldon, Tiffany Allee, Lorraine Bartlett and Mika Ashley-Hollinger.

dianagabaldonIt was interesting to see what posts attracted the most reads. The most popular by far is my two-part interview with bestselling author Diana Gabaldon, of Outlander fame…and I do mean fame. Her fans would follow her anywhere, and they followed her to my blog.  Second in popularity is my interview with literary agent Gail Hochman, also a two-parter, and very meaty in terms of how agents work, what they look for in new writers and what they avoid. Third is a post called “Ten Things Writers Should Expect from Literary Agents,” which I wrote because, while lots of writers are busy hunting for agents, few know what to expect once they nab one.

Looking over the list of posts also reminded me of some of my favorites, which I’ll mention just in case you missed them. “What if J.K. Rowling Had Self-Published?” is one. It’s my fullest answer to a question I hear frequently: “If I have a choice, am I better off seeking an agent who will then seek a publisher or self-publishing?”

Medicalert: The Scourge of Premature Submission” is a comical piece with a serious message. “Digging up Blurbs” shares some of the Dickensamazing blurbs my latest book received posthumously, from writers like Jane Austen, Hemingway, and Dickens. (I thought it was funny, anyway, even if one reader took it way too seriously and accused me of literary grave-robbing. )  “Too Much Body Language, She Said, Frowning” focues on the essential matter of craft in writing. Finally, this one has nothing to do with writing but is so worth reading: “A Former Slave Writes to His Master.

The last year has been a momentous one for me, with a new book on the way and five (five!!!) earlier books reissued. Happy events; but like other Happy Events, very time-consuming. If it weren’t for the support and engagement of this blog’s readers, I would never have been able to keep it going, but now the blog is a part of my life.  I look forward to an exciting year ahead, with lots more interviews with publishing insiders, writing advice, and reflections on our changing industry. I also look forward to sharing with you all the events surrounding the publication of my new novel, A DANGEROUS FICTION, coming out in less than a month with Viking Books… including all the fun stuff that goes on behind the scenes.

Thanks for reading.

Publish AND Self-Publish: an Interview with Bestselling Author Lorraine Bartlett

I’ve got a delightful surprise today: an interview with one of the savviest writers I know, Lorraine Bartlett. Lorraine writes fiction under several names, including Lorna Barrett. If you don’t already know her work, waste no time! The immensely popular Booktown Mystery series is what put Lorraine Bartlett’s pen name, Lorna Barrett, on the New York Times Bestseller list, but it’s her talent — whether writing as Lorna, or L.L. Bartlett, or Lorraine Bartlett — that keeps her there. This multi-published, Agatha-nominated author pens the exciting Jeff Resnick Mysteries as well as the acclaimed Victoria Square Mystery series, and now the Tales of Telenia saga, and has many short stories and novellas to her name(s). Check out the links to all her works here.

A lot of writers agonize over publishing vs. self-publishing. Lorraine does both very successfully. I’m delighted to pass along some of her insights into the advantages of having the best of both worlds.

Q: When did you first know you wanted to write? Was that realization prompted by any particular book you read?

A: As a teenager, I discovered Star Trek fanzines.  Regular people were writing fan stories that were good—and expanded the boundaries of the series.  I though t to myself, “I could do that, too.”  And so I did … although not very well.  It took many years to get where I am now. I never thought I’d have a career as a writer.

Q: Earlier in your career, you wrote stories for romance magazines. Did that contribute to selling your first novel?

A: No, but it got me the professional sales I needed to join Mystery Writers of America.  I wanted that kind of credibility. At the time, I felt it was necessary in order to get noticed by literary agents.

Q: How did that first book sale come about? Did you go through the traditional agent search?

A: I was rejected by literally hundreds of agents (and only tossed all those rejection letters last year).  It was my third agent who finally sold my first book to a small press where it failed abysmally.  Currently, thanks to self-publishing, that book (and series) is my best seller.

Q: What made you choose mystery as your genre?

THRESHOLD-sm A: I knew I’d never be able to write sexy romances, and mystery seemed the next best genre.  Although now I’m trying my hand at what I call “fantasy lite” with the Tales of Telenia novels. (They are THRESHOLD and JOURNEY … and I’m plotting a third now.)  I write character-driven stories, and I like strong women with an entrepreneurial flair.

Q: You’ve published under three names: Lorraine Bartlett, Lorna Barrett, and LL Bartlett. Why is that, and will you continue to write new books under each name?

A: When I sold the Jeff Resnick series, my agent suggested I write under the name L.L. Bartlett as she felt (and was right at the time) that men wouldn’t buy a book written by a woman.  I’m happy to say that things have changed in the last decade and that I’m finding more and more male readers every day—even for my cozy mysteries.  It just goes to prove that people like character driven stories—be the protagonist male or female.

As psychological suspense and cozy mysteries are quite different, I was asked by my publisher to take a pseudonym for the Booktown Mysteries.  By the time I sold the Victoria Square Mysteries, I wanted people to know (okay—all the kids in my high school graduating class who thought I was some kind of geek) that I could be successful under my own name.  Two of the three books under that name have hit the New York Times bestsellers list, but my Lorraine Bartlett website gets far less hits than the other two.

If I had it to do over, I’d only write under one name.

Q: You’ve written several different series and they’ve all done well. What do you think are the key elements to a successful series? And a related question: What mystery series (plural), past or present, do you particularly admire?

A: Character-driven stories.  The reader must be able to relate to or feel something for the characters.  I get letters from readers telling me they can’t stand Angelica Miles because she’s a bossy, opinionated person. In other words, she’s a big sister and acts like it.  Despite the fact I never had a sister, I’ve somehow managed to capture that love-hate relationship sisters often have.  I’ve had many more letters from readers telling me the relationship between Angelica and Tricia mirrors the relationship they have with their own sisters.  I also write about brothers in the Jeff Resnick Mysteries.  Brothers I understand.  I’ve got two of them.

Gee, I don’t think I have a favorite mystery series, though I’ve read a lot of them.

Q: I’m fascinated by your combining of mainstream publishing and self-publishing, and would like to pursue that subject a bit. You’ve had multiple books hit the New York Times bestseller list, most recently One Hot Murder, so it would One-Hot-Murder.large_seem that your publishers have done well by your books. And yet you have chosen to self-publish some of your work. What led you to that decision?

A: See above.  My small press experience was a disaster.  I had faith in my characters.  My friend Sandra Parshall (author of the award-winning Rachel Goddard mysteries) once told me that I’d be best known for my Jeff Resnick characters.  I don’t know if that’s true, because being successful as a self-published author is far different than success with traditional publishing, but I sell a LOT more copies of those books.  Oddly, the crossover audience is small.  I’ve had better luck convincing my cozy readers to try the darker Resnick stories than having the Resnick readers try the lighter cozy mysteries.  Price is also a factor.  My Resnick books sell for $4.99 as opposed to $7.99 for my traditionally published books  in e format.  The price difference gives them more of an incentive to try the books.  My Resnick mysteries are also available as trade paperbacks, but don’t have the kind of distribution the cozies have.  Still, the royalty for self-published books is far greater than an author gets with a traditional publisher.  But the most important thing an author needs to be successful in self-publishing is experience.  One really does need to write millions of words, figure out structure, plotting, and characterization, and present the best story they can write before readers will buy their work.  Have there been flukes?  Sure.  J.K. Rowling may not be the best writer in the world, but there’s no doubt she is a spellbinding storyteller.

Q: As a writer with a major publishing house, you have the support of professionals in all sorts of areas, including editing, proofreading, marketing, sales, promotion, publicity, and design. How do you replicate all the work they do for your self-published books?

A: You can buy the same services as a one-shot  deal and you’re not an indentured servant to a publisher or an agent.  The profit margin is all yours, and is often recovered in a surprisingly fast time period.

Q: What are the best methods you found for promoting your self-published work?

A: Social networking.  I rarely do face-to-face promotion anymore because it’s just not worth the time and effort.  I had some very lovely signings for the earlier books, but people don’t show up any more.  It’s not good for the author or the bookseller.

Q: Have your publishers encouraged your forays into self-publishing?

A: No. But when I offered my editor my Jeff Resnick series, I was turned down because he felt it would only garner a niche audience.  I’m happy to say he was wrong.  They haven’t discouraged me, either.  I suspect that’s because I’m making money for them and they want to keep me happy.  Should I be presented with a contract that says I can only write for them, I wouldn’t sign it.  I write other things besides cozy mysteries, if only for my own entertainment.  I wrote the fantasy novels while on vacation cruises.  It was fun.  I don’t want someone telling me what I can and cannot write.

Q: How does your self-published work sell in comparison to your published work? Or are we comparing apples to oranges?

A:  It is apples and oranges.  But I also make a lot more money with my self-published titles.  Why not?  I’ve got 30 of them, although the majority of them are short stories.  Some were projects that were rejected by traditional publishers.  It’s gratifying to be able to say, and have the numbers to back it up, that editors and agents were wrong.  I believed in my characters and my work when others didn’t.  I worked hard to make this happen.

Q:  There’s a lot of controversy in the blogosphere about pricing of e-books. Some people feel that pricing books at ninety-nine cents makes a joke of the author’s work. Others complain that pricing them above ten dollars, as mainstream publishers do, arouses furious buyer resistance. What do you think? Is there a sweet spot for self-published books?

A: No doubt about it, a 99 cent book by an unknown writer has a better shot at selling than a $7.99 book by yet another unknown writer.  I do have 99 cent titles, but they’re for short stories.  My first was an Amazon short.  I liked the idea of being able to sell a short story for 49 cents.  When Kindle took off, they abandoned that program and made the minimum price 99 cents.  I worried no one would buy short stories, but they do.  Not in huge quantities, but doesn’t take long to earn out the cost of production.

A good starting place is $2.99.  It rather depends on length.  My shorter novels go for $2.99.  The longer ones for $4.99.  That seems reasonable to me.  I think traditional publisher shoot themselves in the foot by charging the same price for an e book and a mass market paperback. (I haven’t really investigated the price relationship between e books and trade paperbacks.)  They argue there are costs for formatting a manuscript for an e book, but that’s also called overhead.  They’d do far better selling a high volume at a lower price than a lower volume at a higher price.

Often 99 cents is a loss leader.  Price the first in a series at that price (or free) and if readers like it, they’ll try the rest of the series.  It works well for grocery stores selling milk, etc.  It also works well for authors.

Q: What does the advent of low-cost self-publishing mean for writers and publishers today? I used to see publishing and self-publishing as two completely separate tracks. More and more, though, we are seeing writers cross from one track to the other or, like you, straddle both. Can you venture an opinion about where this is heading?

A: I have no idea.  But I like the freedom of writing what I want and that work finding an audience.  Publishing used to nurture authors.  They don’t do much of that any more.  I don’t have to sell 100,000 copies of any given book to be successful as self-published author, simply because the royalty structure is so different.  Authors who never earned out with their work now can earn a living wage from the titles that “failed” when traditionally published.  Genres that were said to be dead (such as Regency Romance and horror) are finding plenty of new readers via e books.

Q: Would you advise a first-time novelist to pursue mainstream publication or to self-publish? Why?

A: It would depend on how well they wrote.  Tossing a book up on Kindle and hoping it will fly is a crapshoot.  What makes self-published authors successful is backlist, and putting out new material on a regular basis.  When you’re tied to a traditional publisher, you’re often in the one-book a year trap.  Stephen King and Nora Roberts were far too prolific for their traditional publishers and had to take pseudonyms.  These days, they wouldn’t have had to.  Traditional publishing still has a lot of old-fashioned ideas they’re holding onto for dear life … like if you saturate the market with your work, it won’t sell.  I’m happy to prove that old saw wrong.

Q: What’s the most useful advice about writing you ever got? Who gave it to you?

A: Rewrite. A lot of people said it over and over again.  And one of the beautiful things about self-publishing … you can rewrite a story and put out a new version.  As technology changes, so do my books.  I just refreshed one a couple of weeks ago—keeping it relevant.  I like having that ability.  Younger readers are going to be better able to relate to the story if it doesn’t read like history.

Q: What’s the most important advice you have for aspiring writers?

A: Read a lot. Write a lot.  Rewrite a lot.

Q: Thanks so much for visiting, Lorraine.  What’s next on your agenda?

A: After my next contract works…I have no idea.  But no matter what I write, I’m sure I’m going to enjoy the journey.

 

I hope you found Lorraine’s remarks as interesting as I did. She’s a busy lady, but if possible she will drop by and respond to comments and questions, so please feel free to join the conversation. 

Some exciting developments on my end, too, with A DANGEROUS FICTION coming out in July with Viking Books. The one I can share now is that we’ve scheduled two appearances in the NY area. I’ll be reading and signing books at the Barnes and Noble in Carle Place, NY, on July 29, 2013 at 7 PM and at the Mysterious Bookshop in Tribeca, NYC. I’m hoping Lorraine is wrong in this one thing at least, and that lots of people do come, because I love meeting readers face to face. See you there!

 

Behind the Curtains: What Publishers Really Do

An awful lot of what publishers do for books, they do behind the scenes and prior to publication. Viking/Penguin  is going to publish A DANGEROUS FICTION in late July, and they are gearing up in all sorts of ways. I thought readers might be interested in a glimpse behind the curtain.

Editing: packaging is important, but you’ve got to deliver the goods. Good editing makes any book better and good books shine. Shortly after its acquisition by my delightful editor Tara Singh, A DANGEROUS FICTION underwent a series of first-class edits and emerged the better for it.

Cover: Positioning a book starts with a cover that conveys the message and ambience of the work. Because the cover is also a marketing tool, it exemplifies the approach of the publishers’ marketing plan. If the author and publisher are not on the same page, this is where the fissure usually appears first.

Viking’s cover, by London-based French artist Malika Favre was the most perfect face I could imagine for the book I wrote. If the tone of the book could be converted into a picture, that picture would be this cover. At this point in the process, I am feeling the love.

DangerousFictionHC_jacket2

 

Blurbs: Many months before publication, copies of the manuscript were sent to writers who expressed a willingness to read and possibly write blurbs for the book. For me, this marked the first time this book had been read by anyone outside my agent, editors, and immediate family. One by one, reactions began to come in. I’m very grateful to the writers who took time from their own work to read A DANGEROUS FICTION, and I’m proud to share their comments with you now.

“A terrific read! A thriller with a psychological heart of mystery, a double-ended love story, and a fascinating look at the world of high-stakes publishing.”-Diana Gabaldon, New York Times bestselling author of Outlander and An Echo in the Bone

“Clearly, the most dangerous fictions are the ones we tell ourselves.” JA Jance, author of DEADLY STAKES and many other bestsellers

A Dangerous Fiction reads like a tell-all, inviting readers into the sleek, hallowed inner circle of literary Manhattan, then blowing that world apart with harrowing intrigue and a gripping mystery. Finally, as a bonus, Rogan offers a surprisingly sweet redemptive thread with which to stitch it all back together. A Dangerous Fiction blends deft prose with a pitch-perfect voice, and Barbara Rogan is a storyteller at the top of her game.”-Vicki Pettersson, author of Cheat the Grave and The Scent of Shadows

“Barbara Rogan knows the world of writers, agents, and editors, and in A Dangerous Fiction she offers a vivid inside look at both the glittering successes and the failures that breed feuds and obsession. As a stalker resorts to murder to destroy literary agent Jo Donovan’s life, readers will cast suspicious glances at everybody from a disgruntled former employee to a rejected writer to Jo’s most trusted friends. A Dangerous Fiction is great entertainment!”–Sandra Parshall, Agatha Award-winning author of the Rachel Goddard mysteries

“The backstabbing and cutthroat competition we imagine going on behind the scenes in publishing make it the perfect setting for murder, and Barbara Rogan has done it justice in A Dangerous Fiction. I loved every wickedly delicious page.”-Hallie Ephron, author of There Was an Old Woman

“Barbara Rogan’s A Dangerous Fiction positively drips with intrigue and delicious suspense.  I couldn’t put it down—and you won’t want to, either.”—Lorraine  Bartlett, author of the Victoria Square Mysteries.

“Rogan brings an insider’s keen view, pulling the reader into the New York publishing milieu with all of its jealousies, intrigue, excitement and larger-than-life personalities. At the heart of the story is a woman’s need to uncover the truths about her own life, even as she’s the target of malevolent foes she can’t identify. Danger, suspense, romance and the deep bonds of friendship–A Dangerous Fiction has it all. I couldn’t put it down!”-Darlene Marshall, author of Castaway Dreams

 

DickensI received a few other blurbs as well, from some Very Illustrious Writers, but for some reason my editor doesn’t want me to post them along with what she insists on calling “the real blurbs.” But you can read them anyway, right here.

Review Copies: Five months before publication, bound galleys are already out to long-lead reviewers. In a few months, the prepublication reviews – PW, Library Journal, Kirkus – will appear. I’m not thinking about that. Not a bit. Never read reviews. And if you believe that, I have a bridge that may interest you…

Brooklyn_Bridge

Sales and Marketing: I believe that the books are being sold into bookstores nationwide by the Viking’s terrific sales force even as I write this; so, being a somewhat superstitious person, I will say no more.

Online Marketing: Viking’s online marketing mavens have worked with me to help me improve my websites and FB author page, and to ease me onto Twitter, where I am known as @RoganBarbara–do look me up and say hi!   They’re patiently training an old dog new tricks, and I’m relieved to say they employ purely positive training techniques; not a whip in sight, no authors hurt in the production of this book.

Bookstore appearances, Book and Author Luncheons, conferences, etc.: These are already being scheduled, starting in July, for the New York area. I’m infinitely corruptible and shamefully approachable. If you have any offers, please direct them to Ben Petrone, Associate Director of Publicity at Viking.

The Readers’ Guide to A DANGEROUS FICTION has just gone live for use by book clubs and library reading groups. I think it’s terrific; it even taught me a few things about the book I didn’t know. Do have a look. I’m open to participating by phone or Skype in book club discussions of A DANGEROUS FICTION; just contact me at Barbara Rogan at Gmail dot COM.

So much of what publishers do is invisible and goes uncredited. I’d like to take this opportunity for a shout-out to the dedicated folks at Viking for their hard work and support. And next time someone asks, “What do publishers really do for writers?”, point them here.

 

A DANGEROUS FICTION is now available for pre-order;  and most vendors are offering early buyers  a 35% discount on the hardcover edition. While you’re waiting for that to arrive, my last three books, SUSPICION, HINDSIGHT, and ROWING IN EDEN,  have been reissued in ebook and paperback.