The Next Circle of Hell

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JennW

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Agreed. My agent is very hands on, which I like. Like Dawn said, she usually offers her own comments regarding the rejections and then after she typically as an “offline” conversation/lunch/coffee/what have you with the editor, she’ll have more details on the rejection. I have found these details to be even more helpful than the “official” rejections, but that’s just me. For me at least, it seems that often the official rejection doesn't match exactly with the unnofficial reasons behind it, so it really is nice to know. I’m a bit of a needy client I think, so the more info, the better.:)

Jwheeler – YAY!!!
 

suki

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HI all. Hope everyone on sub is staying calm and positive. :)


So I'm in one of my crazy restless gal-on-sub modes and I was just wondering - what are some of the reasons why an editor might hold onto your ms for a long time? Just throw em out there :D (Really I know there's no point in talking about this and yet my fingers keep typing!)

There can be lots of reasons, as others have suggested. For me, some of the slower responses were because the editor read and passed it up the chain of command, and then had to wait for higher ups to read. Or was waiting for a scheduled meeting.

But, my agent also said the "no news is no news" thing. And one of the things I've heard from several people is often the slow response is not because the editor is "holding on to it" but because the editor hasn't read it yet. A lot of editors have piles waiting to be read, even from agents. And they don't always read in order of receipt - in fact, they often don't. They often read by how much something interests them, or how much interest there is in the manuscript, or by how close their relationship is with the submitting agent, interest from others on the team, or even other factors.... So, sometimes the wait is for the editor to read. And that means nothing about the manuscript. :)

lkp - nice rejections are really tough, but also really encouraging that you are close.

On your question of forwarded Rs - my agent often paraphrases and comments and interprets or adds info. And usually we do communicate back and forth - by email or phone.

So, I think if you want to respond, you should. :)

JWheeler - excellent news! I didn't have any conference calls, but did talk to my editor by phone pre-acceptance of the offer. I'll give you the same advice my agent gave me - relax. :) My take: they already love the book, and this is to let you hear their thoughts and feel each other out - nothing for you to prove at all. So, listen to their thoughts and let them woo you, and they may have questions - you can always say non-commital things like "Interesting" "I'll have to think about that" "I'd love to talk about that further" if you aren't sure - or you want time to talk with your agent. :)

But frankly, you can probably mostly listen :)

~suki
 
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kellion92

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Yay JWheeler! Preemptive woohoo!

I haven't had any of those editor calls, but for the rest of you lucky folks, I wish they would do it with less notice. I would pretty much rearrange anything to fit that call in, and who needs to spend all that time freaking out?
 

jscribbles

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Cloud Eight

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JWheeler: very exciting. Sounds as though you are close!

On the question of responding to agent forwarding Rs: my agent always includes some comment. Unfortunately, it's usually "unfortunately," preceding the pasted R. And, thankfully, a line or so of encouragement. Even if there is nothing specific to respond to, no follow-up question to be asked, I do respond, just to grease the lines of communication, and to put whatever positive spin on the thing that I can (if I can).

On wondering what's up with a silent editor: I second what Suki said. But, yeah, can't help wondering.
 

Kendare Blake

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Great news, JWheeler! I echo what Suki said. They'll want to know what you've got in mind for the series, but probably won't ask for too many specifics. Even if they ask for an outline or a synopsis, they're well aware that the book those describe are rarely the books that get written. The editors are mostly just going to be excited about your book, and excited to meet you! And an excited editor is worth their weight in gold!

Good luck. And of course, keep the Hell thread in the loop.
 

inkspatters

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Wooooohooooooo Jill!!!! :D (I don't really even know what's happening, but I have a guess and my guess is very exciting!) :D
 

jscribbles

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Wooooohooooooo Jill!!!! :D (I don't really even know what's happening, but I have a guess and my guess is very exciting!) :D

What you think is happening is not happening (yet). I do think I should maybe start being more low-key, though, even though I haven't named any names or houses. I'll let you all know as soon as something is definitely happening, though!
 

inkspatters

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What you think is happening is not happening (yet). I do think I should maybe start being more low-key, though, even though I haven't named any names or houses. I'll let you all know as soon as something is definitely happening, though!

I think it could just be my vivid imagination, and need to leap from 2 to 7, as opposed to you being too high-key :D
 

Miss Plum

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What time's the chat taking place tomorrow? Nosy Parker Rosie needs the details.;)
Had the chat. SLAP SMACK went the reality bat. Graphic novels typically get looooowww advances, he said -- but my artists are people with mortgages and babies and other opportunities, I'm thinking.

So I have to pitch the ol' "Work now -- earn later!" to them. There are garbage job offers all over the Internet for artists to work for slave wages in the hope that this or that comic or graphic novel will make big royalties and become a movie trilogy and we'll all get rich. I HATE to become one of those.
 

kellion92

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Aww, no Miss Plum. So sorry :( How do artists and writers usually collaborate on graphic novels, compared to say, a picture book, where the publisher hires the artist? How do the royalties usually work?
 

jscribbles

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Had the chat. SLAP SMACK went the reality bat. Graphic novels typically get looooowww advances, he said -- but my artists are people with mortgages and babies and other opportunities, I'm thinking.

So I have to pitch the ol' "Work now -- earn later!" to them. There are garbage job offers all over the Internet for artists to work for slave wages in the hope that this or that comic or graphic novel will make big royalties and become a movie trilogy and we'll all get rich. I HATE to become one of those.

So... here's me being dumb. Do you *have* to have the artwork ahead of time? Or could you just pitch the story and then find an artist?
 

triceretops

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That publisher would start with a "D" would it? I had almost the exact same wording on a recent rejection. Just wonderin'.

Tri




I'm going to revise what I said last night --- I got another rejection last night, which was the most complimentary yet. Each rejection on this novel has been nicer than the last ranging from the first which was "I don't like it" to "I like an aspect of it but" to "I like many aspects of it but" to the most recent which was "I liked it and read to the end, and would publish it, but I do hard cover and this would be better in trade paper. Have you thought of XXXX imprint?" Coincidence? Probably. But it does make me hope that some of the hold outs are mulling it over. Who knows?
 

lkp

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No, this was definitely a personal rejection, sent to my agent. Discussed several specific aspects of the novel. And no D!
 

kellion92

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I wonder what that really means, lkp and Tri -- how do they decide what would do well in trade paper as opposed to hardcover? Mass market paper is a dominant format for some genres, but trade originals and HC fiction don't seem markedly different.
 

lkp

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She was very specific (and I think that she may be right) that most historical novels about queens written by unknown authors do better in trade.

I think she may be right because, frankly, I almost never buy in hardcover myself, and I am that target audience.
 
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