Our Ask BHP question this week dips into the personal reading habits of Bethany House staff: “As a publishing employee, can you turn off the analytical side of your brain when reading for fun, or are you always critiquing the story in your head?”

As someone who works in our marketing department, the main time I’m reading in Analysis Mode is when I’m reviewing a manuscript that we’ll be considering at our Publication Board, where representatives from marketing, editorial, sales, and rights discuss potential contracts with authors. For new fiction authors, we usually get the full manuscript weeks ahead of time, giving me a chance to read it so I can come prepared to discuss its strengths and weaknesses. Here are some of the questions I ask myself as I do so:

• Does this seem to be a good match for our target audience? (Interests, spiritual/theological background, etc.)
• Is this different enough to stand out without being so unique that it won’t appeal to readers?
• How would this fit with other books we’re publishing?
• Are the characters well-developed?
• Is the middle of the story interesting enough to carry readers through?
• After I read the first three chapters, what, if anything, makes me want to read more?

When I’m reading a book for fun outside of work, I obviously don’t feel the same kind of responsibility to go through a checklist like that. It helps that I also read in several genres outside of the Christian fiction I immerse myself in at work (nonfiction of all sorts, ABA mysteries and fantasy, middle grade fiction, literary classics…let’s be honest, basically anything with pages).

This might also be a chicken-egg conundrum: I’ve spoken with several editors who said they went into editing because they already had a natural bent toward analyzing and critiquing a story’s structure, characters, and plot. Working in publishing probably strengthened those skills, but it didn’t create them in the first place.

I think most of us would say that while we can’t exactly “turn off” the part of our brain trained by working in publishing—deciding if the cover makes the genre clear, admiring the author’s voice, predicting what might happen next—the better a book is, the easier it gets to set the technical questions aside and just enjoy reading. After all, if I’m not making a marketing plan for the author or evaluating the manuscript for our publication board, I don’t really need to be thinking about all of those things. All I really have to decide is whether I like it or not.

I probably am somewhat more critical, or at least aware, of the choices the author is making because I’ve spent the past five years in publishing, but “off the clock,” I’m a reader just like any other.

Then again, all readers are on some level, asking questions like “Does this opening chapter grab me?” “Is the plot too predictable?” and “Do I care about these characters, or do I kind of hope they fail because they’re so annoying?” Maybe you wouldn’t actually describe your reading process that way, but we’re all analyzing the story at some level. Hopefully not to the point where we can enjoy ourselves or get lost in a great story, but in a way that helps us appreciate what we love about our favorite authors.

Your turn, readers! What is it about a good book that makes it easy for you to turn off your analytical side and just enjoy the story?

This month’s Ask Bethany House question caught my eye because of its focus on readers: “Most of the time, I think it’s great that readers like me can connect with authors easily on social media, through their website, etc. But sometimes I hear stories that make me wonder if there are things that readers say that bother or annoy authors. What would some of those be? (So I can avoid them, ha!)”

First of all, super interesting question! I agree that for the most part, easy access to authors is one of the amazing things about the Internet. Almost all authors love being able to hear from readers and know their books are making a difference.

That said, there are some questions or comments that are harder for authors to know how to respond to. Sometimes they’ll ask me if I have any ideas for good responses, which is how I know which reader comments are more likely to be problematic.

Take these with a grain of salt—there are contexts where saying these things may be totally fine, and if you’ve said one of these in the past, it’s not a big deal. These are just etiquette tips from what I’ve observed working in publishing. (And yes, most authors have gotten all of these in different forms.)

Each individual author’s preferences will vary…but I don’t know of a single author who doesn’t appreciate a spontaneous kind word from a reader. That’s something you can always count on! Continue reading →

Today’s Ask Bethany House will take us back to the past: “Who has worked for Bethany House the longest? What are their favorite things they have learned since working there? What kind of change have they seen?”

I love this question because it doubles as an answer to another question we received: “What do you think is an aspect of publishing that most people don’t know about?”

With that in mind…meet Randy Benbow!

If you count years at Bethany House itself, Jim Parrish, our executive VP, has been here longer, but Randy worked in the pre-press department of the print shop that created books and other materials for the missions organization that started Bethany House, back in the 1970s.

His job in the production department of Bethany House started in 1993. What does that mean? Basically, Randy’s job involves all of the unseen technical details that get a book into your hands and keep us running: printing “proof” covers to make sure they’ll look great on the final books, backing up and archiving our files and covers, sending the printers what they need to roll out books and deliver them to bookstores and libraries all over the world, and more.

I asked him a few questions to learn about his job (and had to find definitions for some terms, meaning even I don’t know all of what Randy does). Enjoy!

Amy: Tell us a little bit about how your job has changed over twenty-five years.

Randy: One of my favorite things working at Bethany House is actually looking back…and marveling at how computer hardware and software has improved over the past twenty-five years. When I started working here November 1993 our typesetting system was totally code-driven. My workstation also had an Apple Macintosh Classic II with a teeny-weeny little screen tethered to a larger 22” black-and-white monitor to create…

(Can you guess what task might have been so important to be automated that it was done on one of four computers at Bethany House?)

Barcodes! I still create all our barcodes, but it’s a much easier and faster process now (with a bigger screen).

Back in those days, we only had three other Mac computers. Dan Thornberg was designing book covers on one in the then Art Department (after he hand-painted his illustrations!), while his sister Sheryl designed ads and promo pieces on one in the Marketing dept. Peter Glöege was also designing book covers on a Mac at the time. Those persevering designers pioneered the beginnings of digitally-designing book covers, ads, marketing and promotional pieces…and we still have the files from those first few book covers designed in 1993!

Another task I took on we found we needed was on-site Mac tech support as well as managing a stack of 3-4 hard drives cabled together for our primitive beginnings of a file server—running software utilities (sometimes before they arrived in the mornings, or after the designers left in the evenings), managing backups and archiving our Mac files. Ah yes, those were the days—slow, expensive, inconsistently stable Macs.

Amy: Wow, I can’t imagine doing any production or design work without computers. I’ve seen some of Dan’s original cover paintings around the office. It’s amazing how much work he put into them, although I can see how it would also be much harder to make tweaks and changes like we can now in Photoshop.

What was the most involved process that now no longer takes a lot of time because of technology?

Randy: Typesetting—formatting files for the interior of a book so it can be printed—is very different than it was when I started out. Covers and ads used to involve processing film, while paper for book text involved being pasted in a layout, then photographed. Since I’d had quite a few years’ experience maintaining a film processor for Bethany’s Graphic Arts camera, I processed the film and paper outputs, monitoring and maintaining its chemicals, cleaning as needed.

Now typesetting is done on large screened Macs in Grand Rapids to digital files; no light-sensitive film, no chemicals. Instead of transferring files via “SneakerNet” (by walking or mailing), floppy disks, or larger capacity disks and drives, files are transferred to and from designers, coworkers, foreign or domestic Subsidiary Rights vendors, and book printers via email (if they’re small enough), or Dropbox-like links or other transfer systems if they’re larger.

Amy: I can’t imagine walking files around and the extra time that would take.

What’s a recent experience you’ve really appreciated about your job?

Last February 2018 I was blessed to have the opportunity to visit our parent company Baker Publishing Group’s home office in Grand Rapids, Michigan. I got to meet and personally talk to the people I’d been emailing for fifteen years! They were so hospitable, gracious, warm and kind! While conversing with them, seeing their facilities, faces, and workstations, I found we had many things in common at work as well as in our personal lives, which gave me more satisfaction in my job knowing who I work with “on the other side of the pond.” It was great—I loved it!

Anything else you want to share with readers?

Just a favorite joke of mine…do you know why there are RUSH jobs in the printing industry? Back in the day when Gutenberg invented the first printing press with moveable type, his first customer kept the proof over the weekend… <sigh> and they’ve been behind ever since.

Thanks, Randy! How about you, readers? What’s one technological advancement in the past twenty-five years that has changed your life for the better? (Mine would definitely be GPS…)

First of all, thanks so much to everyone who participated in our Ask BHP survey! (You can still add your questions, but the giveaway winner has already been picked.)

There have been so many intriguing questions submitted already, including several I’m especially excited to investigate…because I have no idea what the answer might be!

This month, we’re pulling out a technical question, one that you may have wondered if you’ve noticed the difference in spine widths along your bookshelf: “Who decides how long a book gets to be? I know some books are longer than others, so who decides, and how do they decide on the length?”

When an author creates a book proposal, they often give the approximate word count of their novel. Debut authors—authors who have never published a novel before—almost always have a complete manuscript, so even if some editing might be needed, the word count is pretty easy to figure out. Authors who have published before, however, sometimes only have a few sample chapters and an outline…which they may or may not follow closely, so their word counts are more hypothetical. You can think of the estimated word count as the general goal the author is aiming for. It’s usually phrased something like: “90,000 words plus or minus 15%,” so it’s not a strict amount.

As far as why the number is chosen, the average length of one of our novels is in the 80,000-100,000-word range. There are some slight preferences—contemporary romance tends to be closer to the 80,000-word mark, some historicals will be more likely to creep toward 100,000 or beyond—but that’s a good general estimate to keep in mind.

One major exception is epic fantasy, which tends to be much longer…after all, the authors have to build an entire world and then introduce a threat that could end the entire world. According to our editors, the conclusion to Jill Williamson’s Kinsman Chronicles, King’s War, set a new fiction length record: 656 pages and 222,000 words total, more than double our typical novel size!

Bethany House doesn’t currently publish children’s books, but of course every target age group within that industry has a different ideal word count, and even sentence length, based on reading level. (Along with those few Harry-Potter-like exceptions that defy length norms.) Mass market fiction and novellas have conventions as well.

As far as getting to that word count, some authors will “write long”—let their first draft go wild with subplots, long descriptions, backstory dumps, and other words that will be eliminated the second time they go through their manuscript. A few authors purposefully write scenes that they know will need to be cut or at least shortened later to keep the momentum of the story flowing, while others only decide in the editing process what might need to be trimmed. This gets them back down to the word count they’re aiming for.

The other camp is made up of those who “write short”—telling the basics of the story to get it out on paper, then going back and adding fun character details, smoother transitions, and additional tension-building scenes after they have a draft. The most minimalist will basically create a detailed, fifty-page outline for their first draft, but others will only be a few thousand words short that they then sprinkle throughout to make the story more vivid. This gets them up to the word count they’re aiming for.

There are always exceptions to word count goals, where authors start writing and realize they just can’t tell the story they’re trying to tell in the word count they decided on in earlier. (This seems to happen more commonly than authors who decide their book needs to be much shorter than they’d planned.) At that point, they talk with their editor to create a new word count estimate. If an editor reads a 120,000 word manuscript and decides, “A lot of these scenes don’t advance the plot,” they’ll suggest edits to get the word count down to the target amount.

But sometimes an editor reads a 127,000 word manuscript and decides that nearly everything is essential…which is what happened with A Refuge Assured by Jocelyn Green. Jocelyn explained it this way: “My first draft is usually between 100,000 and 110,000 words. But then, as we flesh out character development and subplot threads, I always end up adding more to the novel. I do delete entire chapters that weren’t necessary during that process, but what I add to the book always outweighs what I strike out. Dave and Jessica [Jocelyn’s editors] say that as long as the book doesn’t lag, and as long as every scene is necessary, they don’t mind the length. What we don’t want is an underdeveloped storyline or an abrupt ending, just to squeeze in the last chapter before hitting a certain word count.”

So there you have it! Word counts aren’t magical, but neither are they an exact science. Authors and publishers both want to make sure there’s enough space to tell a good story…without giving too much space for meandering.

What’s the longest book you can remember reading? How about a book you wish could be longer because you love the characters so much?

Cover design is always a popular topic in our Ask BHP poll, and this reader wants to know: “I’d like to hear a little bit about the cover design process. Specifically, I know there’s a group that approves or asks for changes to covers. What are the most common things you change?”

At our first meeting, editorial and marketing representatives meet with our creative director to talk about their vision for the covers of that season’s books—usually about 15-16. All will have read the synopsis (the book is rarely finished at this point), and they’ll bring covers they really like or other visual aids. The creative director, Paul Higdon, then translates this feedback to the designers.

For the next stage, the team is mostly looking at pencil sketches or stock photo approximations of what the poses for a cover might look like, especially when there will be a photoshoot of one or more models. This is the point to say, “Wait, that’s a totally different direction than the first two books in the series,” or “I think the silhouette is a better idea than the split-scene” or “Let’s be sure to have her outdoors instead of inside.”

Later, after many hundreds of hours of work on photoshoots and Photoshop, the designer will present a semi-final version of the cover…actually, usually 6-10 different versions. Some are in totally different styles and tones, others are similar with smaller variations on the type or model pose. We’ll give another round of feedback, this time more specific as to what we like or don’t like, voting on our favorite designs.

One of our designers, Jenny Parker, said, “The designers probably have the best idea of what an author goes through, because we have our art critiqued by others—sometimes while we’re in the room! Then it’s time to take that feedback and make changes.”

And that’s a hard task, especially because most of us have vague instincts like, “That type is hard to read” or “something about that model’s expression looks unpleasant” or “the color pallet just seems off.” They might be true statements, but the designer has to find the way forward to actually do what the team members are suggesting.

Once we agree on the right design (or a Franken-combo of designs), there are still tweaks to be made. At the near-final stage, here are some recent comments jotted down in meeting notes.

• Check with the author to make sure those earrings are appropriate for the time period. It might be fine.
• I’m not loving the series logo…can we get rid of some of the froufy frilly things around the text?
• The woman’s dress is really close to the blue dress of the first book in the series. Let’s make it more teal, or a different color altogether.
• Will the author like this? Because it’s a very different direction than what we’ve done for her in the past.
• So…no one else thinks the guy in the background on Cover 3 looks creepy? (Consensus: we did not go with Cover 3.)
• Let’s make sure to get her hair a little darker. It’s edging toward blond, and she clearly has light brown hair from the character description.
• The author’s name should be in a thicker type to make it easier to read.
• Does the pose look like a “strong, independent woman” or just over-the-top to you?

Then…more designer magic happens, and the final cover is sent to the author for feedback, as well as to members of our sales team for approval. Once everything is set to go, it gets placed in our catalog, the one that the sales team uses when presenting to bookstores (usually 8-10 months before release).

Here are some examples of those middle stages in the process. For Tracie Peterson’s new series (releasing in March 2019), our creative team asked if Jenny could have a large face above Western scenery as a way to set the series apart. Here are a few of the options we saw.

…but interestingly enough, Jenny put in a few designs with a totally different feel, trying to imitate a Wild West poster. Everyone loved that direction, even though it was different than what we had originally suggested. We had different poses to choose from in that design, and this is the one we went with after a few tweaks, the final cover of When You Are Near.

So there you have it, a small glimpse into the world of book cover design. Hope you enjoyed it!

What’s a cover that stood out to you recently? It can be in any genre.

One reader asks, “Can you tell me some books/authors you’re really excited about and want to make sure everyone reads?”

Well, I already wrote a post about my favorite Bethany House book (spoiler: it was published in 1993), so long-time readers will know that I can’t pick among current authors. It would be way too hard.

But since “ALL our books” isn’t a long enough answer for a blog post, I’ll reply by saying that today, I’m especially excited about Bethany House books that were nominated for Christy and Carol Awards. The Carol Award winners will be announced this Saturday at the ACFW conference, and the Christy winners at an award ceremony in November, but to me, all of these titles are winners already.

Chances are you haven’t read all of these yet, so add them to your list—they’ve got a seal of approval from some pretty discerning judges (and me, of course).

True to You by Becky Wade

Plot Summary: After a broken engagement, genealogist Nora Bradford decides focusing on her work and her novels is safer than romance. But when John, a former Navy SEAL, hires her to help find his birth mother, the spark between them is undeniable. However, he’s dating someone, and Nora is hesitant. Is she ready to abandon her fictional heroes and risk her heart for real?

The House on Foster Hill by Jaime Jo Wright

Plot Summary: Fleeing a stalker, Kaine Prescott purchases an old house sight unseen in Wisconsin, which turns out to have a dark history: a century earlier, an unidentified woman was found dead on the grounds. As Kaine tries to settle in, she learns the story of her ancestor Ivy Thorpe, who, with the help of a man from her past, tried to uncover the truth about the death.

A Dangerous Legacy by Elizabeth Camden

Plot Summary: Telegraph operator Lucy Drake is a master of Morse code, but the presence of Sir Colin Beckwith at a rival news agency puts her livelihood at risk. When Colin’s reputation is jeopardized, Lucy agrees to help in exchange for his assistance in recovering her family’s stolen fortune. However, the web of treachery they’re diving into is more dangerous than they know.

A Plain Leaving by Leslie Gould

Plot Summary: Returning for her father’s funeral, Jessica faces the Amish life—and love—she left behind years prior. Struggling with regrets, she learns about the life of a Revolutionary War–era ancestor who confronted some of the same choices she has. Will Jessica find peace during her visit, along with the resolution she hopes for?

A Note Yet Unsung by Tamera Alexander

Plot Summary: Despite her training as a master violinist, Rebekah Carrington was denied entry into the Nashville Philharmonic by young conductor Nathaniel Whitcomb, who bowed to public opinion. Now, with a reluctant muse and a recurring pain in his head, he needs her help to finish his symphony. But how can he win back her trust when he’s robbed her of her dream?

Heart on the Line by Karen Witemeyer

Plot Summary: Grace Mallory is tired of running. But when she learns that the villain who killed her father is closing in, she has no choice. Grace is waylaid, however, by Amos Bledsoe, who hopes to continue their telegraph courtship in person. With Grace’s life—and his heart—on the line, can Amos shed his shyness and become the hero she requires?

An Awakened Heart by Jody Hedlund – a free ebook novella!

Plot Summary: Longing to do more with her privileged life, Christine Pendelton begins volunteering at Centre Street Chapel. There she meets Guy Bedell, a pastor who shares her heart for the less fortunate. When Christine challenges Guy’s methods of helping, can they find a new way to reach out to the poor—and to connect with each other?

King’s Blood by Jill Williamson

Plot Summary: After the foretold destruction of the Five Realms, the remnant that escaped by sea searches for a new home. As the king’s health worsens, Sâr Wilek assumes command and struggles to rule the disjointed people, while assassination attempts and dark magic endanger his life. One prophecy has come to pass, but another looms in the future: Who is this Deliverer?

Okay, readers: out of the books above, how many have you read?

This month’s question from our Ask BHP mailbag has to do with the process of writing a book. A reader asks, “When authors are planning characters, how do they make sure that their leads feel like individuals? Put another way, what methods do authors use to keep their protagonists distinct, especially if they’ve written lots of books?”

Clearly, this is not one that I’d be able to answer as a marketing employee, so I went to authors of our August releases. Combined, they have written over 90 novels and novellas, which means they have experience with a lot of characters. Here’s how each of them approaches the process of making their lead roles stand out.

Jen Turano: When I’m plotting out a series, I only have a smidgen of an idea who the characters truly want to be. It’s not until I start writing the story that their character traits really come out, and that happens when I settle on what their quirk might be. For example, Mr. Harrison Sinclair is colorblind. Well, that right there led to all sorts of amusing scenes because he’s just a hot mess when it comes to fashion. And then take Miss Temperance Flowerdew. When I started the Apart from the Crowd series, she was incredibly timid, so much so that she rarely spoke. However, but the time I got around to writing her story in Caught by Surprise, she’d changed into this outspoken, adventure-seeking heroine. I hadn’t planned on her turning into that, she simply wouldn’t cooperate as a timid sort, so, as I do with every book, I just let her have her way.

Ronie Kendig: Characterization is one of the most vital steps to drawing compelling, unique characters. When I go into a book or new series, I make sure I’ve spent dozens of hours exploring who that character is, what has formed them as an individual, and what they want out of life. Then I upend all that with the plot. Ultimately, the “skeleton” I use to flesh out a hero might be the same (they may all be a Messiah archetype for example), but his background, his heritage, his wounds and goals will be unique to him. I mean, after all, most of us out there can fit into one of a handful or two of basic personality types, but our experiences, our lives, make us unique. The same is true of characters in a book.

Leslie Gould: In my mind, my characters are as distinct as my family and friends, but I do put a lot of thought into their development so that they’ll feel like originals to my readers too. I do online personality tests for my characters, map out their major life experiences, and carefully choose physical appearances and mannerisms that don’t duplicate past characters I’ve created. Once I know their basic characteristics, I can figure out their wounds, goals, and motivations. By that point, they’ve come alive to me and are on their way to being characters my readers will love too!

Judith Miller: When I begin a new book, I “interview” my main characters, and as I come to know them and what has influenced them throughout their lives, I discover more of their personality and what makes them distinct. I think we must go beyond eye and hair color. For instance, I may have a female character who is very flamboyant, but as the reader gets to know her, they discover she’s using her flashy behavior to hide her insecurity or self-loathing. Of course, I do enjoy physical descriptions that are a little unique, as well. For instance, a male character who is thought to be good-looking except for his clumsy gait. I think the key is knowing your character and what makes him/her tick.

Great answers! Okay, readers, describe a quirk, habit, or hobby of someone you know that would be perfect for a fictional character.

This month’s Ask BHP Question is from an aspiring writer: “I know one of the best ways to meet editors like the ones at Bethany House is attending conferences. I’m planning to go to my first one in the fall of this year. Anything I should know about appointments with editors?”

Here are some tips from one of those editors you might be meeting with. Raela Schoenherr is one of our acquisition editors and an all-around fabulous human being. Here’s how she answered this question:

• Trust yourself. You know your story better than anyone, so don’t focus on whether you’re giving the “wrong” answer or pitch. If you’re confident in what you’ve written and your goals for it, that will be apparent to agents and editors.
• Remember that agents and editors are regular people just like you, no matter how intimidating they may seem at first.
• Stay positive. Agents and editors are taking pitches because they hope to find something that will be a fit for them. Remembering that they’re looking for opportunities to say “yes” rather than “no” will help you keep a positive perspective.
• Listen to the advice of others and apply what makes the most sense for you. If you’re trying to do (or not do) everything anyone has ever told you, you may have a hard time staying focused on the main point. And you may end up feeling that your pitch wasn’t authentic to you.
• An appointment is your time to speak with an industry professional, so take initiative to start the conversation and the pitch. Don’t make them drag details out of you.
• Do your best to answer their questions as well as you can, but if a question surprises you and you don’t have an immediate answer, don’t worry. You don’t want the entire appointment derailed because you panicked over not having an answer to one question. You can gracefully ask for a few moments to think or acknowledge it’s a great question and say you’ll need to jot it down and spend some time thinking and researching when you return home.

Raela also made what I called a “red flag checklist.” It’s a quick, bullet-point list of some common mistakes that immediately brand a manuscript as not yet ready for publication or pitching at a conference. Here’s what she put on it:

• Confusing point of view
• Head-hopping (randomly changing point of view in the middle of the scene)
• Uneven or slow pacing
• Overly clichéd or predictable
• Breaks genre or sub-genre standards
• Word count too short or too long for publisher’s standards
• Author doesn’t know or understand readership

Those are all great things to look at as you’re preparing a manuscript (or preparing yourself to pitch one).

I’m not an editor, but I am on the team that looks over proposals from new authors in our pub board, so here are a few tips on conferences and manuscript proposals from my perspective.

• Research the basics. Good news! There are resources all over the Internet about how to put together a book proposal, one-sheet, or cover letter. The proposals we’ve gotten from new authors all have some things in common (like the word count of the completed manuscript and a synopsis), but they don’t ever look exactly the same. Different elements/sections are included in each. That means you can find out what your materials should look like, but you don’t need to stress over matching any template perfectly.
• Think about what would make you or your book stand out to a marketing team and include that in the proposal. You may not be a megastar or have a huge platform, but if you have connections with author friends, a unique area of expertise, or some great ideas for promoting your book, be sure to mention that in your proposal.
• Use the conference as a way to connect with other writers. Besides being enthusiastic fans who can spread the word when you do have a book out, talking with author friends and following them on social media will give you great marketing ideas and help you get a better sense of what your readership is interested in. This may end up being more valuable to you than the appointments.
• If an agent or editor isn’t the right fit for your project, don’t despair! That was the main point of last month’s post of published authors talking about rejection. Be open to feedback, don’t take a “no” personally, and keep on writing!

Hope that’s helpful! If there are any seasoned writers out there who have gone to a few conferences, feel free to add your tips in the comments.

Our question today is aimed especially at aspiring writers out there: “How many times does an author typically get their book turned down before getting it published for the first time?”

To get the answer to this question, I decided to poll a number of Bethany House authors and see if their stats matched. Here are some quick facts.

Clearly, everyone’s path to publication is different, but take note, aspiring writers: by this statistic, only about 25% of our authors published the first novel they ever wrote. That may seem discouraging at first, but it’s a great reason to keep writing and keep improving.

I tried to get a count on how many rejections from editors and agents these authors faced for their novel that eventually did get published, but so many of them said “countless” that it was hard to tally up.

Besides just those numbers, I wanted to pull out a few snippets that tell part of the publication story of these authors. Below are stories from authors of many different genres: fantasy, historical, romance, contemporary, and just about everything in between. Enjoy!

Patrick Carr, author of The Wounded Shadow: I wrote three full-length novels before A Cast of Stones was picked up by Bethany House. But that doesn’t tell the whole story. Before those three novels there was a veritable parade of unfinished novels extending back in time.

Mary Connealy, author of The Accidental Guardian: I was rejected too many times to count by agents and editors. One year alone I counted 40 rejections.

Connilyn Cossette, author of A Light on the Hill: Counted with the Stars received a number of rejections by agents (one devastating response made me nearly give up permanently because I was told that it was absolutely unsellable) but there was mostly just a lot of silence and not much feedback other than judges in contests that either loved it or thought it was the worst clap-trap ever written.

Leslie Gould, author of A Plain Leaving: In my early years, I sent three novel proposals, one by one, to the same editor. The first two times, she responded with: We like your writing but don’t want this story. The third time, she offered me a contract. I learned so much between writing that first novel and writing the third one!

Beverly Lewis, author of The Road Home: Since I was writing magazine articles and stories for several years prior to ever writing a novel, there were no unpublished book manuscripts in my drawer. My first published novel was actually for pre-teen girls, which turned into a 14-book series (HOLLY’S HEART). My first book manuscript for adults, however, was rejected. So, I went back to the drawing board and wrote The Shunning, which launched my adult writing career.

Nancy Mehl, author of Blind Betrayal: The first novel I ever wrote was never sent to anyone. It’s my “novel still in the drawer.” Thanks to some great writers I encountered through various online groups, I discovered early on that I had no idea what I was doing.

Tracie Peterson, author of In Places Hidden: Before I was published, I also had a file drawer full of stories that I had sketched out – probably over fifty. I always encourage new authors to keep putting together story ideas even if they are published because this made it so easy for me when the contracts started coming in. I didn’t have to worry about coming up with story ideas, because I had files full of them.

Michael Phillips, author of The Legacy: My first series was rejected over 30 times over a five year period before I took it to Bethany after they started publishing fiction. After those thirty rejections, the letter from a Bethany House editor expressing “cautious” interest was the turning point in my writing career.

Debra White Smith, author of Reason and Romance: The company I published my first novel with decided to cancel their line of fiction not long after my book was released. Then, the struggle was on. I got many, many rejections for five more years. Then, finally, I started selling all books that I had written during the five year wait. When the door opened, it was a floodgate that also involved non-fiction titles and a speaking ministry.

Karen Witemeyer, author of More Than Meets the Eye: When my first completed novel was requested by an editor, I received a rejection letter. They liked the writing, but the storyline was too similar to something they had recently published. However, there was one element they really liked: the dress shop. Could I write a story about a dress shop? Umm . . . the dress shop burned to the ground on page four. Ouch. No tweaking could fix this. I’d have to start over from scratch. Should I just try to pitch the original story to someone else, or should I write a new book? I decided to keep my foot in the door that God had cracked open for me and wrote a new story that centered around a dress shop, A Tailor-Made Bride.

In addition to sharing their numbers of rejections, authors also flooded my inbox with encouragement and advice for writers out there who may have had a bad pitch session with an editor or received disappointing news after a conference. Here they are…bookmark this post and come back to it whenever you need a pick-me-up from authors who have been there. Continue reading →