There are times that I’m possibly interested in a manuscript, but I just won’t know unless I read the whole enchilada. Maddeningly, in my world of nonfiction, many enchiladas aren’t complete, so I have to make a decision based on what little I have – usually a book proposal and three chapters.

Most of the time, I can tell if something is a yay or nay, but there are those times when those partials are riding on the fence, and I need more in order to figure out which side of the fence the manuscript should drop. If the author doesn’t have any more, then I usually err on the side of caution and reject the project. And really, I can’t think of a sadder fate.

Who Sells an Unfinished Book?

Selling an unfinished nonfiction story used to be reserved for previously published authors. They were a known quantity, so editors could gauge the query’s worth based on the strengths of the author’s published works. But somewhere along the way, all authors were lumped into this, and we are now expected to make a judgement call on someone who has no publishing experience and a partially-written book and zero track record. This leaves a lot more room for speculation…and rejection.

So what elements make me want to see the whole enchilada?

Platform

In our world of nonfiction, nothin’ sez lovin’ like a solid platform. If I have a great three chapters but the author has a wee platform, then I want to see the whole book so I’m confident that the book stands up to our promotional efforts. Oftentimes, authors don’t highlight the right concepts about their books, so I don’t have a clear idea of the book’s potential.

For instance, let’s say your book is about working with abused horses, and how your experience with them helped cure you of your depression. Ok, it’s a cool story, but you haven’t said much about your platform other than you work with abused horses. If I read the full, then I can see that, Oh! you work with autistic children through horse therapy. Now we’re getting somewhere because that’s a book I can sell. I can already see the audience.

If you didn’t have the book written and didn’t really play up how you’re established with this book, then I will have missed it and rejected it. An editor sees things in manuscripts that authors don’t necessarily see, so they can create promotion plans around what they find within the manuscript. If it isn’t written, then those gems will be lost to the editor, and hello rejection.

How Well Written is the Book?

The writing of the beginning chapters may be pretty good, but I might be on the fence as to how I feel about it. If I have the full, then I can judge how well the story flows and how well it’s told.

And then there’s the ending. Is it satisfactory, and scratches all the right itches? I need to know how well you tell it and wrap it all up. I’m in the middle of just such an instance. The writing is ok, and the story is ok, but the potential is very big. I really need to see all of it in order to determine how the author handles the Big Kahuna parts of the story. It could be either really good or not so hot. Since it’s unfinished, I’m inclined to reject it with great sadness.

And that’s something you want to avoid at all costs. You never want to give an editor a reason to reject your book, and offering only a partially-written book could be an invitation to the curb.

Time Constraints

What I don’t understand is, why not finish the book? If your book sells, you’re going to have to finish it anyway, and you’ll have the added pressure of a deadline. Additionally, you don’t have the luxury of turning in your very best work. In most cases, you write your book, let it marinate, then go back and look for the warts, and do the rewrites. This may go on for a long time.

Case in point, an author we just signed took nine months to finish the book BEFORE we signed her, and it was well worth the wait. Had we signed her nine months ago, it’s doubtful we would have given her nine months to finish the book. So would we have gotten a lesser story and be disappointed? It’s not a small consideration.

When you have a deadline, you don’t have time to let it sit before looking for the warts. Most of the time, you’ll turn in a too-young draft, which can scare the stuffin’ out of an editor. Working against a deadline isn’t all it’s cracked up to be. Many times authors miscalculate how much time they need to finish their books, and they find themselves freaking out as their deadline looms ever closer. Are you the type who does well under extreme pressure, and do you believe you’re able to turn in your very best work?

Are You Committed to the Book?

Accompanying my confusion over why not finish the book, is commitment. If you love this idea enough to want to sell it, then commit yourself wholly to it and do the logical thing. Does this mean that if you don’t sell the project that you say, “Whew, dodged that bullet by not bothering to write the book.” If so, how does that thinking play into your commitment? With writing, you’re either in or out. There is no gray area.

The main thought any author should have is that you want to do everything possible to maximize your success. There are too many cracks to fall between as it is, so don’t create more for yourself. Finish the dang book!

I hear this a lot. We – and many other trade presses – have open submissions, meaning anyone may query. So the question is, if that’s the case, then why does an author need an agent?

Cool Factor

Ok, I just wrote that to get your attention. But it’s not too far off the mark because I’m more apt to reach into my inbox and open up the query from an agent than I am a query straight from the author. It doesn’t mean the unagented author isn’t cool – not at all the case – but the author hasn’t undergone any vetting. Because of that, I turn down far more unagented authors than I do agented ones.

Knowing How to Pitch

Another reason so many unagented authors are rejected is that they don’t really know how to create a good pitch. And really, there’s no excuse for it considering all the online help that’s available to writers on the elements that make up an effective pitch. The agented author has a leg up because agents do this for a living. I’m not saying that all agents do a bang up job, but the odds are in their favor.

Negotiation

If you’re offered a contract for publication, do you know how to successfully negotiate your contract? Agents do, and they know what is most open for negotiation and how hard to push. I’ve seen several offers go belly up because the authors were trying to negotiate their own contracts, and they were pushing all the wrong buttons. It’s frustrating because there are certain things we won’t won’t budge on and other things where we will. All publishers have their sticking points, and if an author continues to push them, the editor is going to walk away because it’s not in their best interest. An agent understands these things and look for compromises elsewhere within the contract.

I can’t drive home this point enough – contract negotiation is a fine art best left to those who know what they’re doing. Some will say get a lit attorney, but they don’t understand publishers’ breaking points, and there’s no skin off the attorney’s nose if the deal goes south – they get paid no matter how things turn out. It’s far less personal because they have zero investment in you other than to interpret the contract. Personally, I look forward to these kinds of negotiations as I would a root canal.

Buffer Zone

There are times (sadly) when there’s a breakdown or personality clash between author and editor. And yes, it happens to every editor at some point. The agent can be an author’s savior because they serve as the buffer zone between the author and editor in order to sustain the publishing relationship. If an author is on their own, things can go south very quickly. I had one such case, and after nearly a year of his verbal abuse, I dumped his ass. No one gets paid enough to take that kind of crap.

You certainly can act as your own agent; a few of my friends do, however, they’ve been publishing books for a long time and know how to negotiate their own contracts. In short, the old adage of “he who acts as his own attorney has a fool for a client” isn’t just a cute little ditty. It’s the difference between a pleasant publishing experience and a nightmare.

Actually, this is a picture of Baby Daughter at her undergrad graduation in San Francisco last year. This year, Baby Daughter is graduating from Boston University with her Masters in Criminal Justice. Proud doesn’t begin to cover it. She takes my breath away at how mature and accomplished she is. I can’t even remember where my head was at 25, but I’m fairly certain it wasn’t on my shoulders.

Hard to believe she is the little spud who wore roller skates all day long and didn’t take them off until she flopped out in bed. I still have dents in a few walls during her cheerleading days when I saw more of her feet than her face because she was always walking on her hands…such a little gymnast. We also lost a few lamps in that era.

My little firecracker has grown up to be my idol with her fearless nature and hell yes attitude. And even though she’s all grown up, she’s not beyond serious snuggle time on the couch while watching trashy love movies, eating choccie chip cookies and drinking beer. We always hope that our kids surpass us in ability and reflect all the things we tried to teach them. I look at our Muggie Bug and see a fabulous reflection of all our silliness and love.

So, we’ll be out of town for a week soaking up the sights of Bahston and watching Baby Daughter meet her fabulosity.

I have this little ritual that I take extra special cherry-on-top pleasure in:  Moving Day.

No, I’m not moving to a new batcave; this is far less dramatic, but no less important. I have a folder in my email program called Submissions. General queries go there. When I ask for a partial or full, they get their own folder within my Submissions folder. If I pass on the submission, I move the folder to the Delete folder. If I offer a “folder” a publishing contract and the agent agrees, I do this little happy dance by moving that folder into my Authors folder.

They are no longer a submission, but one of the fam.

I love this little ritual of welcoming the new folder to my gang of Authors because I’m excited for that folder’s future. What fun will we have together? How will this little folder explode with its possibilities and have readers falling over themselves to read it?

The editing process is where I get to really know the author, and he/she to know me. It’s where the lovely little folder blossoms into a living, breathing thing of gorgeosity.

I have to say that this one really got to me. It had a rough start, but I was sufficiently interested in it to suggest a rewrite. A month turned into seven, and I forgot about the little folder until early last week when I was cleaning out my email program. “Seven months,” I growlz, “meh, move it to the Delete folder.” And I did.

Funnily enough, the very next day the agent popped in to say hello and to present me with the fully re-written prize. So worth waiting for. LEARNING TO PLAY WITH A LION’S TESTICLES by Melissa Haynes made me scream with laughter and weep like a baby. I began reading it Friday night and finished it Saturday afternoon. I. Could. Not. Put. It. Down.

Melissa’s book sits at the same banquet table as EAT, PRAY, LOVE, but, without a doubt, should sit at the head of the table because Melissa writes with so much more depth, and soul, and grit. Anyone who has ever had serious regrets, fear, and guilt MUST be prepared to read this book. If you’ve ever loved your mother, you REALLY must have this book. If you’ve ever volunteered, or are thinking about it, I ORDER you to buy this book.

Set in South Africa, Melissa volunteers at a game preserve her mother’s death. She brought a lot of heartache and mental baggage with her. Yet, her experiences of dealing with pain in the ass game warden who would love to send her packing, a saucy elephant who flings branches and ellie dung at her every day, some lions who believe she’d make a tasty meal, a gator who has the same idea, a very mismatched couple who had to be separated from their respective herds because they kept killing their members, storms, washouts, near-death, and bouts of euphoria over an African sunrise, represent both harsh and gentle lessons Melissa needs to confront in order to fully live her life.

It’s a beautiful unfolding that exposes deep pain, fear, and guilt (which made me weep through a box of Kleenex) and comes full circle to a life lived wholly. Guess it’s no small wonder I have “The Circle of Life” from The Lion King rummaging through my head.

Hakuna Matata, Melissa. Well-freaking-done, and welcome to the Authors Folder.

You and Mom are at the pound, looking for the right puppy to rescue. Mom rests her hand on your six-year-old head. “Go ahead, sweetie, pick one.”

You scan all the precious furry tail-waggers wearing their best “Come Adopt Me” faces. You’re conflicted. “Noooo! I want them all!”

And of course you do; they’re all so adorable, right?

So it goes for authors who not only write a bunch of manuscripts, but query them. Together.

I don’t know what’s going on, but lately I’ve been getting quite a few “You Chose” queries where authors list their entire repertoire of completed manuscripts. Just yesterday, one scooted into my inbox that offered no fewer than four manuscripts; each covering different subjects:  addiction, divorce, gardening zen, and driving cross country. Each title had a brief blurb and ended with the invitation that I could request one or all four. Lucky me!

It’s sweet of you to offer, but I think I’ll have to pass; and here’s why.

Jack of All Trades, Master of None

When I see these multiple choice queries that cover completely different topics, I suspect the author is tossing out a bunch of arrows, hoping one finds a target and sticks. I’m not that target because I’m looking for someone who is an expert in their topic and has the platform to back it up. Few have that ability.

I could see it with with the achingly talented Kim Kircher because she is a master at two things:  skiing and dealing with  a husband living on borrowed time waiting for a transplant while fighting bile duct cancer. If she had approached me with two separate books, I would have seen the logic. Luckily, she combined the two and the result is a fantastic book that goes to the heart about how vital it is for caretakers to have someplace where they can go to find their own inner strength in order to fight the good fight.

Most don’t have that kind of crossover, so these multiple choice queries books are totally unrelated, and the author is unsure of which book to pitch. So they pitch all of them and ask us to make the decision.

No Noob Zone

By querying your multiple books, you project the idea that you lack confidence in any particular book, and don’t know enough about the industry or the marketplace to know which book has more commercial appeal, or the widest readership. In short, it reveals you as a noob (someone who doesn’t know what they don’t know…and doesn’t care).

You’re basically saying, “I wrote all these books and have no clue as to what’s better. Since you know more than I do, you chose.” And we won’t do that.  I’m more likely to reject the whole enchilada.

Of course, you *do* care, so you need to do some research in order to find out which book has the most potential in terms of marketability and where you have the biggest platform. I can promise you one thing; we will not do your job for you.

There’s nothing wrong with being a debut author, but it’s really hard to work with authors who don’t know anything because they tend to have unrealistic expectations. It can be like herding cats…something the beagle would love to attempt, but gives me the shivers.

Is It OK For Fiction?

The same can be said for fiction writers as well. If one manuscript is romance, and two others are SF and crime, then you’re talking about three totally different audiences. Most writers write in one genre because it’s what they read; they’re familiar with the plot structure, the tone, the style. For instance, the writing style for romance is completely different from a political thriller, and I’d doubt that any author could write in totally different genres with the same efficacy.

Even if you have four different manuscripts that are in the same genre, you should have one that stands out from the rest. Go with that, and let the others play together in the sand box.

The idea is to do things that will enhance your chances for success, and Eeny Meeny Miny Mo is a bad idea. Really.

My beautiful mom

Hope all you moms are properly spoiled rotten because our is one of the toughest jobs that have the sweetest outcomes.

I know, I know,  no one is allowed to use the “My mom loved my book” fodder, but this isn’t my book, so I’m going for it. My dad is so adorable and supportive, but the man simply does not read books. He has this weird thing where he falls asleep whenever he reads…and it’s not boring stuff.

He told me how when he was at Stanford he used to have to walk around his dorm room while reading so he wouldn’t crash out. So it was a huge surprise when he told me he’d read Kim Kircher’s fabulous book, THE NEXT 15 MINUTES. AND LOVED IT. Dad has always been an adventurous guy…a pilot in the war, diver in college, travel-meister…anything that entailed learning and doing something exciting and new, you can count my dad in.

Given that, it’s no surprise how much he loved Kim’s book. Its action-packed stories of Kim’s equally amazing life is perfect medicine for my dad, and anyone who loves action more than being an armchair cowboy. Her experiences as a bomb-tossing avalanche techie, rescue Ski Patroller, mountain climber, and basically anything else that involves lots of guts, brawn, and danger becomes her savior while she takes on the biggest mountain of all – racing against time to find a suitable donor for her husband, who’s fighting bile duct cancer and has been given a year to live.

Dad loves how Kim weaves her mountain experiences (which are freaking harrowing) and applies the lesson learned to a particular scene that involves John’s diagnosis and dance with death. He’s found himself doing the same thing with his own past…like the time a big stuff Navy guy almost landed his plane on top of Dad’s plane, and it was only by the grace of Dad’s flying talents that he averted killing both of them. You manage to avoid certain death, and it tends to arm you for the many trials that Life throws at us mortals.

So if you’re the type who loves sports and harrowing “Holy CRAP” moments, I can’t think of a better book than THE NEXT 15 MINUTES. After all, what doesn’t kill you makes you stronger, right? Go Kimba, Queen of the Mountain.

Available in all e-formats, too!

I’m a bit ranty today over the ridiculous thing called Exclusives, which means that your hands are tied from querying anyone else until said agent or editor has read your manuscript.

Off the Market

Exclusives suck because the author must take their manuscript off the market just so the agent or editor can read the manuscript without threat of losing it to someone else. Sometimes they’ll ask for a couple weeks or clear up to a month or two.

This is especially egregious if you’ve already sent your manuscript out to other agents/editors. Now you have to contact them and tell them to hold off reading because Ms. I’m-Too-Cool-For-School has requested an exclusive. Not only are you now cooling your heels for that one agent or editor, but you may not even hear back from them. Now what?

If the Phone Doesn’t Ring, It’s Me

You could contact them and ask for an update. What invariably happens is they haven’t even gotten to it and may ask for more time. It’s true that we’re all busy, but I find it bad form to prey on an author’s hope for publication or representation just so we can hog it. It goes against my sense of fair competition.

And after all that, will that agent or editor actually sign you? Sometimes the agent/editor will reject you after you give them a nudge, even though they probably didn’t read it. So what about the others you told to hold off? Will they still be interested, or will they blow you off? The risk is that you’re putting all your eggs into one basket to the exclusion of everyone else, and you may end up the ultimate loser.

You’re Hungry, and We’re Not

What really gets my goat is that agents/editors know authors are eager, so they can ask for exclusives as casually as asking for a margarita. They don’t consider what they’re doing to the author – it’s all about their own convenience, not about fair play (yes I realize that sounded really Pollyanna). Exclusives put a big bump in a level playing field. Not only is the author greatly hindered, but so are the other agents/editors who may love your book.

Numbers Game

Is it wise to decrease your odds of being read by many so the exclusive can have first dibs? Who knows? I’d be interested in hearing from those who granted an exclusive and were subsequently signed by that agent or editor. I’d be equally interested in hearing from agents or editors who ask for exclusives.

I guess what bugs me is the thought process that goes into exclusives; the implication is the agent or editor is so busy and important that the earth will topple off its axis if they aren’t granted special dispensation. Ego can be a good thing in this business, but arrogance is a killer. It’s not about us, per se, but the author.

This is a “You snooze, you lose” business. If I lose out because I didn’t jump quickly enough (and I do jump quickly for the most part), then I have no one to blame but myself. What I won’t do is force the author into an agreement that hinders their progress so I can sit on my tushie and read at my leisure…only to possibly reject it a month or two later. Frankly, I’d be embarrassed to sop up someone’s time only to say “no thanks.”

Should I? Dare I?

Do you have to grant an exclusive? No. The problem is that many who ask for them are high rollers, and the author wants to be associated with them so badly that they’ll say yes. A couple weeks isn’t that bad, I suppose, but what if you never hear back from them after prodding them? You have no choice but to forget them and move on. And be that much wiser the next time.

There aren’t too many agents who ask for exclusives and even fewer editors, so chances are you won’t encounter this. The thing to keep in mind is what will you say should someone ask.

This is what an author told me the other day. What the what? I’m still not sure if this was the author’s cop out for not being published after a long try, but I can assure you that “Nobodies” are published all the time; and here’s why:

Memoir or (Auto)Biography?

First off, we need to get our story straight. Are you writing a Memoir or Autobiography? The terms are often used interchangeably, but there is a difference that writers should be aware of because it means a world of difference to editors.

Memoir:  These are autobiographies that focus on a shorter period of the writer’s life and cover a specific aspect of that time period. They have a message.

For example, Amanda Adams’ fabulous, educational, uplifting book HEART WARRIORS, focuses on Amanda’s son, Liam, and how his being born with half a heart turned her into a Heart Mom/Warrior. Same goes for Ann Meyers Drysdale’s new book YOU LET SOME GIRL BEAT YOU? which covers Annie’s life. The focus remains on how she never let anyone talk her out of her dreams; and because she fought hard to stay true to those dreams, she is one of the most well-known women basketball players of all time.

As you can see, Memoirs are often about something life-changing.

(Auto)Biography:  These cover the whole enchilada of the author’s life, or a large portion of it. There usually isn’t a particular focus other than the author’s life. This is fertile ground for well-known people. Readers gravitate to their story because they are in the public eye.

This is where unknowns have a harder time getting a bite from a publisher. As hard as this sounds, there is a “who cares?” factor. Because no one knows the author, where is the hook to reel in readers? Oftentimes, these books are lovely for friends and family.

Memoir/Autobiography is an important distinction that many writers don’t understand, and it’s the difference between “No thanks,” and “Please send me pages.”

A Rocking Story to Tell/Something to Say

Again, I look no further than our own authors. Each book has something valuable to say – something that inspires, educates, and invites introspection. There’s a distinct point to our authors’ stories, and I can define each of them in one sentence.

What about your book? Is there a message, a hook, that you can define in a single sentence, or does your story look more like a diary of “First I did this, and then I did that.” Those tend to be snooze-fests unless you’re famous.

If you can define your story’s hook, then it’s vital that you stay there; on point. It’s easy to veer off the railroad tracks because it’s hard to stay objective. After all, this is your life, and it’s so easy to talk about the time Auntie Janie got a bit tipsy and danced on the bar wearing little more than a lampshade and her Manolo Blahniks. Depending on your story, Auntie Janie’s evening with the grape may be appropriate. And that’s the operative: is it appropriate? It may be a funny story, but it may lack context with your subject matter.

Veering off course is easy to do, and I often suggest making a chapter outline so that you’re forced to stay on track. If you refer to that outline, you’ll know exactly what it is you want to say in each chapter, and you’re less likely to stick in extraneous stuff.

Always ask yourself:  Does this scene fit the message to my book?

Is it Unique?

Memoirs have a specific focus, and many times that focus is far from unique. There are jillions of books that cover addiction, midlife crisis, divorce, cancer, mental issues, and editors tend to glaze over when we see another one of these memoir queries drop into our in box.

It’s ok to write in these subjects, but you have to make sure you’re saying something different from everything else already on the market. That means you have to read your competition in order to know that you have a unique story. The fact that it’s your story isn’t enough to send you to the top of the class.

Barry Petersen’s book, JAN’S STORY, fits this bill. There are tons of Alzheimer’s books already crowding bookstore shelves. But it’s a whole different story when it comes to Early Onset Alzheimer’s. And at that, the story has to have a definite point other than, “My wife/husband has Early Onset.” Barry’s book focused on watching his wife slip away from him while he was still in the throes of a very busy professional life as a CBS journalist, and how Early Onset robs people of their life when they are still very young – quite unlike Alzheimer’s.

Too many times, authors make no better argument for their story’s unique qualities other than, “Well, it happened to me.” Yes, you are special, but I’m in the business of selling lots of books, and as lovely as you are, that isn’t a selling feature because it lacks a hook. Know your competition and be able to advocate your book’s specialness.

Who is Your Audience?

Many authors write their books and don’t give a thought about who will read them, so it can be challenging when I ask who is their intended audience, and how/where do I find them. The more well-defined your book is, the easier it is to know how and where to find your potential readers.

Platform

I know, I know, there’s that naughty “P” word again. But it’s there for a reason, which is the ability to get the book widely read. It’s not enough to have a great memoir about being a Las Vegas detective who takes down a pimp who savagely beats his “girlfriend.” The wider issue is human trafficking and how it’s far more pervasive and deadly than anyone has ever known before. So it’s no small wonder that Chris Baughman is in high demand with the human trafficking/child trafficking conferences, going so far as to capture high praise of someone in the government.

If you’re writing a memoir, you must have a platform that establishes you as an authority on your subject matter. Minus that platform, you’re going to have a hard time selling your book to a good publisher. I can’t be any plainer than that.

Is There Some Conspiracy?

An author asked me this at a conference after a tough day of agent/editor advance readings. No one wanted her memoir.

The quick answer is no. Having read her advance submission, I could understand why no one wanted her book. It simply didn’t have anything to say, and she had zero platform. I understand that constant rejection can lead to acid reflux and the idea that everyone is out to get you. But it simply isn’t the case. Don’t look without…look within. If you’re getting constant rejections, it’s a clear indication that something is wrong with your memoir.

Now, do agents and editors discuss particular horror stories? Yes. We’re a gossipy lot, just like authors. But we also talk about the cool authors just as much.

Do they blacklist? Eh. Depends on what you did. If you threatened to kidnap an agent’s kids if they didn’t read your manuscript, then this would spread like wildfire. But do agents and editors go out of their way to blacklist someone? Who has that kind of time? In short, there is no conspiracy or secret decoder ring that belches out an author’s name.

Should I Fictionalize It?

I’ve been asked whether it’s a good idea to fictionalize a memoir if the author has had a lot of rejections. It’s impossible to answer this. How much are you fictionalizing? Is the story big enough to fill a fiction billing with a great story arc? Also, are you a good fiction writer? It may seem a silly question, but I’ve seen many authors whose nonfiction is lovely and their fiction…well…isn’t. The talents that go into fiction differ from nonfiction, so you have to analyze whether you have the stuffing to write great fiction.

There are plenty of books I’ve seen that have “Based on a true story” stamped on the cover, and this makes it easier to promote because the author is talking about their life, even though the book is fiction. There’s a natural bridge.

I’ve seen stories that were fictionalized and I wished they’d made it a memoir. It’s a tough call, and you have to go with your gut.

But the endgame is that ‘Nobodies” get published all the time, and if your memoir is unique, has a clear message, you have a platform, and defined audience, then chances are that you could be among those who are looking at a contract offer. Good luck to you!

…it may not always work out the way you’d hoped. What do I mean? Let’s say you have a great story partially written, and your agent or your writer’s group suggest that hiring an indie editor would really kick it up a notch. So you spend some serious bucks and, voila! everyone is thrilled with the partial. Your agent sells your book, and you’re in Tra La Land.

So you go back to your indie editor and work with them on completing the rest of your manuscript, the agent and indie editor, and you are thrilled with the outcome. And then the editor comes back with your developmental edits, and leaves you muttering, “Whiskey Tango Foxtrot?? I thought my book was perfect.”

Here’s the thing about indie editors; their job is to spiff up the story you give them. Their concern isn’t making sure you have a marketable story with a large audience, your platform, your promotion plan, and selling lots of books. They can only work within the parameters for which they’ve been hired. The result can put you at odds with the editor who bought your book and who most assuredly has her eye  on the business end of publishing AND the artistic part.

This is the main reason I dislike buying partially written manuscripts. I do, of course, but I know the sample chapters in the book proposal have been massaged so that they sing. I’m never quite sure what the finished product will be, and I always cross my fingers and hope for the best.

This is also why I don’t get all gooey in the knees when someone mentions in their query letter that they worked with an indie editor. With that usually comes the belief that their work is a cut above and needs no editing – and that isn’t always the case. The manuscript may be very well executed and has a lovely voice, and excellent pacing, but it’s off the tracks from what the publisher’s editor wants, hence requested rewrites.

For example, an editor friend of mine bought a book she thought was going to focus on a horse trainer’s experience with working autistic kids and how working with the horses brought about big changes in the kids. Cool book, right? The partial she read was great, so she bought the book. What my friend ended up getting was the trainer’s biography – which isn’t what the agent had pitched to her. So the author was taken aback when my friend delivered her developmental edits that included massive rewrites…even though the author had worked with an indie editor.

“But my indie editor and agent loved the book as is,” replied the author.

My friend tried to make things clearer. “True, it’s a well-written story with great development and pacing, but that isn’t what was pitched to me.”

Of course, the indie editor had no way of knowing how the book was going to be pitched – all she knew was that she needed to help refine the book sitting in front of her. As for the agent, it’s something a lot of editors see – the agent is excited about selling the book. It’s not their job to think like an editor because they can’t. We’re all different. And the most important part is that the agent hasn’t seen the final product either because they sold the book based on a partial. What she thought she was selling and what my friend thought she was buying were different from the final product. Hello, rewrites.

So you can see how it’s easy for the left hand to not know what the right hand is doing. No one is at fault. The point of this post is not to place your entire end-all be-all on your indie editor. Just because you paid for her services doesn’t mean it’s bullet-proof. And yes, it may mean that your publisher’s editor may ask you to do rewrites in order to fit her vision of what she knows she can sell because she bought it based on a solid pitch. For instance, had the agent pitched my friend the horse trainer’s biography, my friend would have passed on the project.

Take a deep breath and understand that nothing is in cement until the book is actually printed up and out the door. Until then, all bets are off, and you may have to go back to the inkwell. It’s all a part of this madness we call publishing.