I first crossed paths with Nicola more than two years ago and what struck me about her was how far ahead she was of so many other authors in her field. She was innovative and resourceful and already using multimedia platforms to promote her mystery novels in ebook and print mediums. It’s a rewarding labour of love to write books, but a far greater and fulfilling experience to do what Nicola does as well as writing – sharing her experience and knowledge through her workshops. That’s a gift and dedication many writers pass up on.

Today, I’d like to share with you something of my own experience of reaching publication for my novel.

The Memory of Trees novel by Mick Rooney

Sending a manuscript out on submission to publishers for the first time is a little like sending your child to school for the first time. You feel you have done all you can do to prepare ‘the child’ for what lies ahead, but schooling is like publishing – subject to intense scrutiny, assessment and judgement. The brave and talented ‘pupil’ may rise to the top of the class, but it does not come with a guarantee. The feckless, careless and average ‘pupil’ will often struggle in an intense and competitive environment.

Many are called, but few are chosen.

If you are going to attract the attention of a commercial publisher, then the previous statement holds true its message no more brutally and honestly than in today’s publishing climate. When I first began writing in the 1980’s, large publishing houses did have substantial unsolicited submission piles. Back then, publishers were still prepared to invest a great deal of time and energy sifting through those piles to unearth something exceptional or original that would fit their lists. Now, the economics of publishing and increased submission volume has consigned this approach by authors to achieve publication as something of a bygone age. The vast majority of accepted and commissioned work reaching publication through a large publisher occurs via a literary agent, or under certain circumstances, by way of recommendation of a publishing house’s established author.

The present economics of publishing mean an author must ensure a manuscript is highly marketable and as close to going straight to production and print as possible. In other words, the days of publishers seeing themselves as promoters and nurtures of literary talent have long passed. Even literary agents, once tasked with finding and promoting the next generation of authors for publishers, are steadily declining. Agents, like publishers, have pushed that expectation back to the author. Publishers and agents may dispute the current realities; that they are much more fair-minded and welcoming a literary bunch than now depicted, but the experience of authors today is that the olive branch has long withered.

This was why fundamentally after the first eight or so submissions of The Memory of Trees, I gave up with large publishing houses. I felt I was wasting their time as much as I was wasting my own. At that time, even the large independent publishing houses like Canongate, never replied or even acknowledged my submission. Most of the first eight submissions were snail-mail submissions. I found it utterly prehistoric that modern publishers were still insisting on this form of submission and contact with them. Sometime around then—2009—An Post, the national post office service in Ireland, withdrew the IRC service (International Reply Coupons).

After about six months, I took to travelling to Belfast and buying postage stamps up there so I could affix them to return envelopes I was sending with my submission or query letters. In the end, I thought, ‘f*** this, it’s not worth it for the time it takes anyway.’ Initially, I thought, ‘how can publishers stay in business communicating this way?’ That’s when the penny dropped – they don’t, because this isn’t how they do business now – dealing directly with authors. Their business is 99.9% with agents, and if publishers expected literary agents to do business this way – well, then they certainly wouldn’t be in business very long. Agents are important in the industry for their connections – that’s their strength – knowing who the editors are and what specifically each editor likes and is open to. It was a bit like wishing you could win the lottery without ever bothering to buy a ticket.

By mid 2009, I redrew my submission map. I focussed entirely on independent publishers and small presses, and switched to batches of multiple submissions, with a priority on those publishers that had climbed out of the dark ages and embraced email submission. It was like a breath of fresh air. The publishing world I had begun to grow steadily despondent with started to emit a light of hope. I discovered publishers like Melville House, Graywolf Press, Dalkey Archive Press, and even publishers like Sparkling Books and Milkweed that had tailored online submission forms ‘forcing’ an author to present a submission as it should be – asking questions on genre, length of manuscript and how the author felt the manuscript was different than other books; requiring author bio’s, competition and marketing information. I wondered why larger publishers could not employ similar efficient online filters to deal with their perceived ‘slush piles’, and I could conclude only one real answer to that – they wanted nothing to do with direct communication with authors. In other words, publishers had reached a point where they saw the author as nothing more than a catalyst for the sales of a book, rather than the writer and originator of an idea. The publisher’s primary customer was the bookseller – certainly not the reader. Perhaps I am a romantic literary fool – but I remember a time when publishing actually worked the way it should work, and publishers like Bodley Head, Penguin, John Calder, Grove, Olympia, City Lights, Faber and Hogarth; all understood that publisher and author branding went hand in hand with creating a community of readers. In the new digital world of publishing – forget that – and you’re dead in the water.

I’ve no idea why publishers should take such indignation from the fact that the modern author or agent will submit on a multiple basis. Just as publishers have revised their remit on publishing books – so too have authors and agents. Publishing is no longer the island of monopoly it once was. Agents and authors have now moved in on the process of publishing, and the challenge to large publishers is to redefine why they believe their companies offer something new and original to the process of publishing a book. That calls for reinventions, and publishers are coming from an industry that has changed little in over a hundred years.

When I began to submit to independent and small presses, I suddenly found the response time dramatically reduced – sometimes down to as little as a week or a few days. It no longer mattered what the publisher’s response was. The very fact that the publisher responded courteously meant a great deal. Soon, constructive criticism started to filter through from interested publishers, enough that I began to address weaknesses and plot fall-out in my novel. A small US publisher made a tentative offer of publication if I considered a complete rewrite and a complete review of my main character, Carlos. I rejected that offer on the basis the publisher had only seen a synopsis and two chapters, whereas, I had spent ten years writing the novel! Publishers, take note: Don’t ask an author to rewrite if you are not prepared to invest the time to read the whole manuscript!! I wouldn’t ask an architect to redesign my house just because I caught sight of his blueprint of my toilet!! But then, some publishers consider most submissions to them as blueprints of the author’s toilet!!

I also experienced something I had not expected from editors at independent publishers. Several, even though they were not interested in my novel for their house or press, suggested another publisher and even provided a direct contact editor. I continued throughout 2010, convinced I had improved The Memory of Trees to a point I might be lucky and land it on the right editor’s desk. I do think a lot of publishing success is down to finding the right editor and at the right time. I also won’t deny that my contacts as a publishing consultant and industry researcher also helped, but only to the degree that I was unearthing publishers and avenues for my novel that many authors would rather rely on an agent to find a home for their book.

In the past two months alone, two authors I advised about where their books might find a publishing home have secured publishing contracts with the publisher I suggested they should try. Maybe I’m in the wrong end of this business!! Further interest came from the US, but I always felt reluctance from them when they knew I was based in Ireland. For an independent publisher or small press, even with global networking, it is a considerable drawback if you are not based in the territory your publisher publishes in. Global publishing can be a great universe, but it remains a hindrance to publishing in print and ebook.

I made the decision in January 2011, that if I didn’t find a home for The Memory of Trees that year, then I would seriously consider self-publishing it in 2012. I wanted to move on with my next work and 2010 had taken up a great deal of time with submissions and researching publishers. I felt I was starting to lose focus on my next book.

I review many publishing services for The Independent Publishing Magazine. I think we are up to over seventy companies, and in 2010, I began to focus on traditional publishers exploring innovative ideas and grasping the changes in the industry. In late 2010, I reviewed one of those innovative publishers, Maverick House Publishing. Unlike any other Irish publisher, Maverick House had quickly extended their reach and profile into Asia, while also maintaining a substantial presence in Ireland and the UK. This publisher was unusual from its foundation, because it understood the idea that an Irish publisher could dare to become global, and that when times became tough, it would become the core of their business. In late 2010, Maverick House branched from non-fiction to fiction with the launch of Book Republic.

I reviewed Book Republic as a publishing innovator in early 2011. I was impressed with their view seeing the book not as a physical entity, but as print and ebook, and depending on success, could quickly mold their sales and marketing model to reflect this. Each book was tailored for its market, and if the market changed, they could react to that market. They launched several books in 2010 expecting to sell a few hundred as a boutique publisher, ended up selling several thousand, and been able to quickly shift their model of business, book by book. That shows an extraordinary flexibility few publishers can adapt to. Their core principal is to treat each published book individually, rather than impose a model that may hurt the book’s sales. That includes making the book available through a multiple of hardback, paperback, Kindle ebook or POD, combined with traditional and online marketing.

I thought Book Republic might be a perfect fit for The Memory of Trees and submitted. My instinct proved right, and in May 2011, I met their editor Karen Hayes and editorial director John Mooney. I discovered two people who live and breathe books in their daily lives and know the business inside out and are prepared to work with an author and not work against or in spite of the author. It was a refreshing discovery.

Mick Rooney is an author, editor and publishing consultant from the Republic of Ireland. He has published eight books since 1990, through his own imprint, using author solutions services, and he has also published through mainstream publishers. Several years ago he began researching the publishing industry, and in particular Independent, POD (print-on-demand) and subsidy/self-publishers. Many of the findings of his research can be found at his site, The Independent Publishing Magazine together with his own experiences in the world of writing and publishing. He is the author of To Self-Publish or Not to Self-Publish.

The Memory of Trees author, Mick Rooney

He is also a contributor to many magazines and online resources including, Writers’ Forum, Publishing Basics Magazine, Publetariat, Carnival of the Indies, selfpublishingreview.com, Irish Publishing News, as well as many writing and publishing forums.

In September 2011, he published his latest novel with Book Republic, The Memory of Trees, available in hardback and ebook.

Dublin-born author, Mick Rooney, will take the epubbing con on Friday. He’s a multi-published author and consultant and editor at the Independent Publishing Magazine, with a interest in the changing world of publishing. He’s written a number of interesting novels and recently produced a great non-fiction book called To Self-Publish or Not to Self-Publish.

The Memory of Trees novel by Mick Rooney

It’s a fascinating article so come back on Friday to check it out!

I’m again teaching a workshop on writing mystery novels for Camosun College in lovely Victoria, BC. The workshop is based on my experiences crafting a number of published mysteries and on my little how-to primer, Youdunit Whodunit!

cover image for Youdunit Whodunit!

The workshop is offered on six consecutive Thursday evenings from from September 29 to November 3, 2011. For more details and how to register, go to Mystery Writers’ Workshop at Camosun College.

Here’s the catalog blurb to whet your whistle:

Love reading mysteries? Always wanted to write one? You can – with a few clues from mystery novelist, Nicola Furlong. This practical writing workshop, based on Nicola’s primer Youdunit Whodunit!, is designed for anyone interested in creating crime fiction.

Designed to be more craft than critique oriented, this workshop offers advice you can use immediately to improve your short story, screenplay or novel. Nicola Furlong has published eight mystery novels and a primer on mystery writing. She regularly blogs and speaks about genre writing.

Hope to see you and a sample of your thrilling and mysterious words on September 29th!!

The information is gleaned from my little non-fiction e-book primer called Youdunit Whodunit! How to Write Mysteries and offers my tips, techniques and information suitable for crafting of all types of genre writing.

So, even if you write romance, sci-fi, fantasy or horror, please keep reading and learn with us crime writers.

CHARACTER DEVELOPMENT: VILLAINS (Part 19)

The last group of posts have focused on the point of view (POV) from which to tell your tale.

Most recently, we’ve moved into creating the people who populate your story. I nicknamed this step: Haven’t We Met Before?

There are three types of CHARACTERS who populate fiction: Major, Secondary and Minor.

Last post, we talked about using four personality traits to help define your main characters. This works well with villains with one caveat. Every villain has one common trait: they are amoral. The other three are up to your imagination and your efforts NOT to have clichéd baddies.

But remember, one or more of your players will be villains; however, they don’t think of themselves as scoundrels. Give them a chance to show their human side, their contradictions, challenges and conflicts. Have some fun. The bad guys and gals are often much easier to create and to carry off than heroes and heroines. Being good doesn’t always result in riveting reading.

Elmore Leonard understands this big time. Like Chili Palmer (loan shark) and Jack Foley (bank robber), his lead characters are often crooks. What’s cool is that they believe what they’re doing is right and they usually do it with staggering style.

If you found this of interest, you may wish to begin at the beginning of my How to Write a Mystery Novel posts.

…Of course, there’ll be MORE how-to write a mystery tips and techniques continued in the next Friday post as we push further to develop the three types of characters that commonly populate genre fiction in: You’re Invading My Personal Space, Part 20.

About 200 folks, all brought together by a love of bloody words, attended a wonderfully eclectic smorgasbord of lectures, panel discussions, interviews and chitchat. Really amazing when you think we had the first warm and sunny weekend for a long time!

Highlights include:

• getting a chance to catch up with friends and meeting new folks
• successfully pitching to Sally Harding, Cooke Agency
• having fun as a panelist with Sunny Frazier, Oak Tree Press
• learning from some terrific authors, like Tess Gerritsen, Michal Slade and William Deverell

My sincere congratulations and thanks to the amazing organizers, Kay Stewart and Lou Allin, and their fab group of hard-working volunteers, many of whom were students of mine! Also thanks to Walter and Jill of DeadWrite Books in Vancouver.

Why not sign up for Bloody Words 2012?

My ebooks will now be distributed to major app marketplaces…for free. How can you beat that?

Here’s a teaser from Smashwords:

Smashwords announced a distribution agreement with ScrollMotion today that will make Smashwords Premium Catalog ebooks available for sale as single-book apps in the major app marketplaces including Apple, Android, Windows Phone 7 and HP’s WebOS.

Full details may be found at Smashwords.com.

Thanks to the great folks at Smashwords, ebook sales just keep gettin’ stronger!

The Novel Experience podcast is now available via Digital Podcast.

Check it out at The Novel Experience.

The Novel Experience Podcast

Welcome to The Novel Experience®, the podcast dedicated to the craft and art of fiction writing.

Novel Experience Podcast

No fluff, no filth, just fun, fascinating and fruitful discussions with authors, editors, booksellers, publishers and agents to help you fulfill your writing career. Your comments, guest suggestions and topic ideas are welcome.

Episode 15: Bloody Words Mystery Conference, June 3-5, Victoria, BC

Today, I interview Kay Stewart, published mystery author and co-chair of Canada’s largest mystery conference, being held in Victoria, British Columbia this June. (click link above or below).

Discover Kay’s embarrassing writing secret (I’m amazed and impressed that she revealed it), add her excellent tips to your writer’s toolkit, learn how she successfully collaborated on a mystery novel with her husband, find out about Bloody Words and why she’s desperately seeking a coffin maker before June! (duration ~ 38 minutes)

The Novel Experience Podcast Ep. 15 – Kay Stewart

Also, hear our title track, Devil in the Details by Glynne Turner.

Something new and very cool is in the wind.

So this blog is now on hiatus, though The Novel Experience podcasts may continue.

Thanks for your past support. Of course, you may still read my old posts (over 150 of ‘em!) and listen to my published podcasts.

And no…I can’t tell what it’s about.

At least, not yet.

Welcome to The Novel Experience®, the podcast dedicated to the craft and art of fiction writing. Listen, enjoy and improve your chances of getting published!

The Novel Experience Podcast

Episode 14: From Words to Print

Today, I complete my three-part chat with publisher, editor and visual artist Clare Thorbes (click link above or below).

Clare brings a diverse perspective to the writing/publishing business, being a professional editor and former co-owner of Salal Press, a boutique publishing company during the nineties.

Listen to discover what challenges Clare encountered and surmounted as a small publishing house, learn what she would do differently if she were entering publishing today and find out she thinks makes an ideal manuscript. (duration ~ 18 minutes)

The Novel Experience Podcast Ep. 14 – Clare Thorbes

This episode’s music track is the rockin’ instrumental Don’t Give Up, by Glynne Turner.