The Black Dagger Brotherhood_ An Insider's Guide - J. R. Ward [100]
In my career, I kind of started out bass-ackwards, doing single titles first, then going to category when I wanted to keep doing contemporary romances while the Brothers were getting started. I love writing my categories (Silhouette Special Editions under the Jessica Bird name), and they’re a great break from the Brotherhood books—lighter and quicker, they clean my palate. I will say, though, that I do not find them appreciably easier to write just because they’re shorter—good work is hard no matter what the page count is.
As for the single-title market, compared to getting picked up in category, it can be more competitive, and as I said, there is most often the rate-limiting step of needing an agent. However, you do have more freedom in single title in terms of page length, content, and subplots, as well as the potential for earning more money—although there is more risk, too. If you don’t sell, there is a perception out there that you will get dropped more quickly than in category.
The choice depends on where you are in your writing and the kind of stories you want to write. And it’s not a one-or-the-other kind of thing. You can try a single title or start out in category, it’s really just what appeals and what you think your material is best suited for.
6. A note on e-pubs. I don’t have a ton of knowledge on e-pubs, so I usually refer folks to friends of mine who have been brought out by them and have firsthand knowledge of which ones are the best in terms of author support and business ethics. I think e-pubs can provide a really good opportunity for professional editing and are a great avenue to bringing your name forward to the market much more quickly than would otherwise be possible. I also think they can be groundbreaking in terms of what kind of content they’ll publish and can be an outstanding place to see through a project that might otherwise be deemed too racy or too controversial. I do think authors should be careful—going with those companies that are more established and getting an independent read on contracts before you sign is only smart (as well as apropos in ANY business endeavor).
7. Agents are desirable. From what I understand from the editors whom I know, their slush piles have grown geometrically over the past few years. I’m not exactly sure why—maybe it’s the advent of computers, who knows. But this phenomenon, in addition to the squeeze publishing is currently under, means that editors are understandably even more overloaded and cautious than ever before.
This is where agents come in. The editors I know use agents as a kind of gateway for screening projects, and they rely on recommendations from them when it comes to choosing which material to review and perhaps bid on. A good agent has relationships with editors in every house at every level and knows where to place proposals. In addition, they can vouch for your project with their reputation, giving you even more credibility.
A good agent doesn’t have to be your friend and they shouldn’t be. They should tell you the things you don’t want to hear and be honest about where you are in your career and where you’re going. Each one is different, just like each author is different. Some want to have a say in content, others stress promotion; some are hand-holders, others are bulldogs. The key thing is to find a connection that works for you. And remember it’s a relationship like any other. Be professional and honest and expect the same, and never, ever shoot the messenger. If your agent is doing their job right, you’re going to hear things you don’t like or wish were different. The key thing is working together to solve problems and getting your work out to as many people as possible.
8. How do I find an agent or a publisher? The best advice