I work for a publisher. Ask me anything.

[isthatapugunicorn]

I’m a senior sales bod at a global publisher... involved in everything from proposal thru to promo.

Occidental - no, it isn’t true. Who would make that decision? Theft like that would get you fired in my company.

*Apologies if this has already been mentioned as I haven't had the time currently to RTFT.

I abandoned writing what I thought would be a great novel last year because I heard that when an unknown author sends a synopsis to publishers they often pass it to one of their established writers to create their own version, as it's obviously a more guaranteed success.

Is this true...??*

When I used to frequent writing forums, rumours like this would surface. Now that I have a bit of experience in the publishing world (I'm a children's author) I really don't think this would happen. Authors have more than enough of their own ideas to take on other people's, mostly. Ideas are ten a penny really, it's the execution that counts. Also, most people I have met in publishing have too much integrity to do something like this! I suppose there could be one bad apple...

Get your work out there and don’t listen to stuff like this!

I was approached by a big publisher to write a non-fiction book. Flattering. The editor is lush and I'd love to work with her - but, the contract is shit. Like, really, really shit. Like, offering WAY below industry standard for e book/audio book and asking for copyright of stuff I use in my work.

I suspect that the editor is keen, but, her boss is not. If they won't put money behind it then they won't market it - obvs.

I'm thinking I'll turn down the contract and go back to them with the finished book.

Is it outrageous to ask the editor if she'd edit it on a freelance basis? She's brilliant and I like her a lot.

Also, do commissioning editors get paid a bonus if they find something like Eleanor O?

Thanks for the thread, it's fascinating.

I abandoned writing what I thought would be a great novel last year because I heard that when an unknown author sends a synopsis to publishers they often pass it to one of their established writers to create their own version, as it's obviously a more guaranteed success.

That's the weirdest reason I've ever heard for abandoning writing a book project you believed in. For a start, virtually no reputable publishers will accept unagented submissions, so don't you think your agent (who stands to get 15% of your earnings) would kick up a stink if an editor said 'No thanks' to your space opera about the colonisation of Pluto by talking zebras on which your agent had worked with you on revisions for months, and then a year later BigName Author brings out a space opera about the colonisation of Pluto by talking zebras for the same publisher?

How should a writer go about plans for a multi book series? Write only the first book and then present ideas for the next only if that’s well received? Complete all of them and send them as a full set? Or try to merge them into one giant story and see whether anyone thinks they should be split?
I feel like my current story is too much for one book but I worry about someone reading the manuscript and thinking it feels unfinished because they don’t know there’s two more afterwards. Possibly my own errors in structuring though

I abandoned writing what I thought would be a great novel last year because I heard that when an unknown author sends a synopsis to publishers they often pass it to one of their established writers to create their own version, as it's obviously a more guaranteed success.

That's the weirdest reason I've ever heard for abandoning writing a book project you believed in. I agree.
Nothing about that makes sense.

I know, it's mad, isn't it? Here's a great novel - let's get someone else to write it instead. It's not as though that author's kept a copy of the novel and a copy of the email she sent us, is it?

I agree. There'd also be a paper trail to show this kind of publisher behaviour.

@HanarCantWearSweaters I think each book should be able to be read as a standalone as well as part of a series. It doesn't really work if it's absolutely vital you read them in order. When book 2 comes out and is publicised, people will buy that and will need it to make sense without having read book 1.

I would write the first book and then write to an agent saying you want it to be part of a trilogy or series and that you have plans for the other books. So for example JK Rowling would write "This is a book about an 11 year old boy who discovers he's a wizard. I would like to write one book for each of his school years, up until the age of 18 and am happy to discuss the overarching plot-line and the individual plots for each novel."

Also, do commissioning editors get paid a bonus if they find something like Eleanor O?

I don't think they do. I've been told that by two different editors. In fact one said the book would probably be taken off her and given to someone more senior who would then take the credit!

Hi OP, fascinating thread! If a book comes out digitally first and doesn't sell that well how much effect will this have on the publisher trying to push the paperback to retailers when it comes out?

Thanks @HollowTalk! That’s good to know

I've another question - how long does it take the average author to outearn their advance?

If estimates understandably drive much of the decision-making process then how accurate do you find the estimates tend to be for the books that you decide to publish? Is there much of a science in deciding on the estimates or is it judgement and experience? Thank you.

*Diversity isn’t a ‘trend’ it’s trying to redress the awful white middle,
English middle class ness of the publishing world and respond to what readers want. I’m LGBT and I want Sarah waters not Jilly Cooper! *

How depressing. You can like Sarah Waters and Jilly Cooper you know! A great book is a great book, no matter who has written it. Deciding that someone is not currently "approved" led to Barbara Pym's novels being rejected in the 1960s, and actually Persephone Books discovers forgotten (unapproved) female authors of the last century.

How depressing. You can like Sarah Waters and Jilly Cooper you know! A great book is a great book, no matter who has written it. Deciding that someone is not currently "approved" led to Barbara Pym's novels being rejected in the 1960s, and actually Persephone Books discovers forgotten (unapproved) female authors of the last century

I don't think it's about being "approved", though. There will always be plenty of books published by middle class hetereosexual white people. But there is a need for a more diverse range of voices to reflect the society we live in. I think this is particularly important in children's books.

Sorry, what I mean is no-one is saying you can't like Jilly and Sarah, but IMHO there are still too many Jillys and not enough Sarahs, or Angies (Thomas) etc.

Have you ever discovered someone who has become incredibly successful?

Thanks OP and others who've reassured me about the nicking of ideas by publishers' established authors!

I think I read it on a forum, but at the time it was pervasive enough to be quite demoralising for me.

So glad you came on here OP - I really do feel freshly motivated to continue now!!

isthatapugunicorn!!!!

Please come back and answer about how soon an author might earn out an advance.

If you could give a few examples of amount, and genre if that makes a diff based on diff amount of sales that wound be awesome.

@wordassociationfootball I am not a publisher, but I do know that a large percentage of books never earn out. I have seen the figure 70%, but don't know if its correct as seem very high.

vivariumvivariumsvivaria How bad is bad?? You could argue for more % presuming the Editor really wants the book OR take it elsewhere, you have a baseline to start from. You can ask the Editor but if she's salaried then it may be a conflict of interest for them.

Commissioning Editors - ours get a signing target and bonuses based on this. HOWEVER, they have an over all revenue target for their lists and having a whopper like this can result in incentive payments at the company's discretion. Plus it does wonders for their reputation and career if they have an 'eye' for bestselling books both in fiction and non-fiction. It makes it much easier for them to get internal sign off on their projects.
And the only reason an book might go to another Editor in my dept is if the relationship breaks down with the author for some reason, but that is VERY rare.

HanarCantWearSweaters If you're writing a trilogy say, get the first one finished and have a synopsis at least for the next two ready. If an author came with a brilliant book then mentioned it was a trilogy and by the way they've written the next two we'd be cock a hoop!
We have non fiction authors who often have written one book and have an idea or have started a 2nd which I love! We do have to see how the first goes obvs. but we have gone ahead with the 2nd when the 1st did just ok because it's a different topic, spin and could stand alone.

CornishHasty - we don't do digital only, we launch in HB/digital or PB/digital all formats, and audio too depending on the book.
If you're book was released digitally and bombed you'd have hard time getting it into print, sorry! Unless there was a really good reason why digital didn't work - was it a great idea for a kids book that you started as an app but actually everyone can see it's a touch and feel book so digital isn't the place for it?
If you released your book digitally and it sold 10s of 1000s, you;d get a print deal from us and a relaunch for digital.

HollowTalk - sorry there is no average! Too many moving parts...