A funny thing happened on my way to MacGregor Literary ...

I've been thinking a lot about how my experience as a freelance writer prepared me to help guide authors who are working hard to find their way in this tight market.

Before I met Chip and turned to the dark side to join him as an agent, I freelanced for a living. One of my most steady gigs was for a national trade publication. When I first began writing there, my job was to take the dullest stories the Director of Communications needed covered and do my best to bring them to life. After a year of proving that I could be trusted with the mundane pieces (trust me - mundane is generous here) he began to come to me for new ideas. I was thrilled because this meant I got to follow my own interests (within reason) and research areas about which I had at least a shred of curiosity. I'd write up a quick pitch; get a yes, no, or almost; make adjustments; and then dive in to researching and writing.  After a year of working this way, I got the sense that he was growing tired of even this much back & forth, so, in an effort to make his job easier - and help guarantee that mine would continue - I did a little digging and put together a list of article topics with suggested publication times based on seasons, themes, and events in the industry I was covering.

He was greatly relieved, and I was off & running for another year. Not only had I taken a naggy task off his plate, but I'd proven to him that all his trust in me during the previous two years had not been ill invested.  My job, too, became easier because I knew what and when I was going to be writing. This made it so much easier to plan my time. And, because I had a plan, I found I had more mental space and less stress when he asked me to step in and write bigger articles and take on feature pieces for their high profile, glossy  (and better paying) consumer magazine - the assignments which, if I'd chosen to continue there, would have helped me build a very serious portfolio and continue not just to make a living as a freelancer, but to make a good living at it.

Did I start by pitching feature pieces? No. I started by writing the basic stuff no one else wanted to do. Did I love it? No. But, my hope was that it would lead to bigger things -- and guess what? It did.

While I was researching and writing those smaller articles on topics about which I new absolutely nothing, I was developing my interview skills, learning to write tight, satisfying my curiosity, keeping my writing muscles in shape, and stretching the boundaries of my writing comfort zone. Most importantly, though, I was bringing in consistent money, and building bylines and credibility.

I know I'm talking about articles here, and that there are distinct differences between magazine and book publishing. Hopefully, though, you can also see the parallels.

The message I'm hoping to convey is that if I'd been silly (brave, foolish, naive, faithful, hopeful - you pick) enough  to pitch this editor with the idea of a feature piece for his premiere publication when he had no idea who I was or if I could pull it off, he would have had every right to laugh and hang up on me.

I'm hoping to inspire you to think about is the notion that writing for the smaller, independent publishers and category imprints still, and will always, offer opportunities not only to build credibility, but to earn a living. We naturally tend to target the big houses; the well-known imprints, thinking if we strike it big at first, we'll be able to coast from there. It's just not true - and, as hard as it's become to break in and/or find spots on lists at this level, (especially now when they've all hunkered down and, in some cases, cut back titles) it's also not realistic - even for established authors - to make a good living only writing "big" books.

If you're trying to make a living at this, or simply trying to break in, now is a good time to study what the small and/or independent houses are doing well.

I need to acknowledge that I know we often advise authors to stay true and write that which you are called to write. That's still true. But, while you write for love, it's also possible - and perfectly okay - to write for the sake of building credibility, and your bank account.

Comments

[Kellie Gilbert]

Thanks for sharing your wisdom with us, Sandra. If you think about it, publishing is not unlike any other profession. Few start at the top.

[RefreshMom]

Great insight Sandra! I especially appreciate the ok to go ahead and write 'supplemental' stuff as the opportunity arises. For the vast majority of writers, it's the only way to hope to make any sort of living at this.

Mary Hampton

[cindy thomson]

Great advice. Thanks, Sandra!

[Carrie Turansky]

Thanks, Sandra, This is excellent advice. It takes time to develop writing skills. No one would expect to sit down with an orchestra the first time and play a concerto, or walk into a hospital with no experience and perform brain surgery. But many authors pound out their first novel and expect it to be published by a large publishing house, and when it isn't, they are disappointed.

I like Randy Ingermanson's description of writers as freshmen, sophomores, juniors, and seniors. There is no shame in being a freshmen or sophomore, that's a time to learn the basics, grow as a writer, and follow that great advice above.

[Dianne]

I'd like a little better idea of what you mean by smaller publishers. Which publishers? (Any other than Thomas Nelson, Zondervan, and Bethany?) And what kind of smaller books? Are we talking, like, um, Bible studies? Women's issues? Other issues books? Christian living? Compilations? Are we talking work-for-hire instead of royalty books? Maybe I'm just clueless. Please be gentle. Thanks.

[Lynn Rush]

Well put. I like your style.

[Wendy]

I used to write press releases and marketing pieces I wasn't all that interested in, but found it did help me to build discipline. To Dianne's point, I get my hands on any and everything possible, including book reviews for two Christian publishers, short stories for online magazines, and now I'm a columnist for an online magazine. Keeping the feet wet!
~ Wendy

[Eileen Astels Watson]

Sandra, I'm wondering the same as Carrie. Would you consider vanity presses, say like The Wild Rose Press, in the same category as small publishing houses, perhaps? And what constitutes smaller books--word count?, or what Carrie mentioned?

[emily wierenga]

Very true. Humbling, but true. Thank you, Sandra.

[Ashley Flankenweis]

Sandra, you are more wiser than Chip! Post more often! No, but really, I enjoy your posts on here. Always inspiring in some way!

[Robbie Iobst]

Sandra, thank you. My friend and I were just talking about this topic over lunch today. We both just got stories in a Chicken Soup book and it's wonderful and we are happy BUT... We deal with wanting to be published, an entire book, NOW. Some days it is more difficult than others. And yet we are each building a resume and submitting and doing the leg work we must do NOW. Thanks for your words Sandra.

[Sandi]

Okay, so I have a question: Recently, a small press wanted my book (it would be their first fiction line, which they weren't planning on starting for a few more years). Shortly thereafter, an agent wanted my book. I went with the agent because I'd like to try my chances with the bigger houses. Should I have gone with the smaller press? I'm already thinking, if the agent can't do anything for me in a year or so, I'll go back to the small press--assuming they'll still want me.

[Sandra Bishop]

Hey folks,

I realize we've moved on to another post, but I wanted to answer a answer a couple questions brought up here.

When I mentioned "big houses" within CBA I was thinking of the imprints owned and run by one of the six English-language publishing conglomerates - Hachette, Harper, MacMillan, Penguin, Random House, and Simon & Schuster. Each of these houses have a religious or inspirational
imprint; a division of their larger parent corporation.

Then there are the non-corporate owned dozen plus CBA houses such as
Thomas Nelson, Tyndale, Baker/Bethany, and others which we consider "big" in that that they have been around awhile, and have an established reputation with retailers and distributors.

When I mentioned "small" houses, I was thinking of some of publishers, who are either growing or already well-established but whose names don't typically get tossed around as often in CBA discussions. Abingdon, B&H, Barbour, Charisma House, Cook, Harvest House, IVP, Kregal, Moody, Regal, etc.

There are more than these, of course, if you consider those who specialize in category fiction, bible studies, anthologies, curriculum, etc.

Hope that gives you some further insight.

[Sandra Bishop]

Sandi,

I don't have the complete history here, but I would be careful - especially if you worked with the small press to develop this book specifically for them, then turned it over to an agent to shop elsewhere. If that's the case, it's possible that you've lost your chance with them entirely. I know of several specific situations where this sort of thing has taken place and it can be difficult to gain the trust of the publisher again.

At this point, since it sounds like you've decided to let your agent shop this, just make sure you're completely up front with him or her about the history here. Agents hate finding out about such things after the fact - or worse, from the very publisher to whom you'd previously submitted the work.

[Dianne]

Sandra, Thank you for answering my question from June 4th. The information and lists or the six biggies, then the big CBA publishers, then the smaller publishers is very helpful. Appreciate it.