Compromises
Terry Odell
First, if you’ll indulge me, I have a new release. Not exactly a new book, but after being away, having family visiting, writing breaks to do research, hitting the 30K wall, and other real life interruptions, I feared the wip wasn’t going to be finished in time for a pre-holiday release.
What did I do? Triggered by an acceptance for a BookBub Featured Deal on July 9th for In Hot Water, book 1 in my Triple-D Ranch Romantic Suspense series, I decided to bundle all 4 books in the series as a box set.
I checked with the marketing gurus at BookBub, and they suggested that a release of the bundle before the featured deal would be a good option. I pulled the manuscripts for all four books into a single file and made the necessary adjustments to front and back matter. Since the first 3 in the series were released in 2016, there were some formatting issues to deal with, but it didn’t take long to have a manuscript file ready to upload.
I went into a lot of the process in a post a while back, so I’m not going to repeat any of that now. If you’re interested, you can find it here.
The new book, brilliantly titled, “The Triple-D Ranch Series” is available for purchase at most popular e-tailers. Here’s a link to one-stop shopping.
And on to the post topic: Compromises
Sue’s post on Monday reminded me of our move from Florida to Colorado way back in 2010. Although this is no longer my path to publication, I know a lot of TKZers are, or are hoping to be, traditionally published. The road to publication, like moving into a new house, can be filled with compromises.
During our renovations and remodels, we found ourselves compromising on a lot of issues. Sometimes it was a matter of money—deciding what things we were willing to cut from our dream plan, and where we were willing to shell out the extra cash. We decided to go with underfloor heating in the bathrooms. However, a custom job, with the heat mat made to order for the bathroom was prohibitively costly compared with the off-the-shelf versions. The compromise meant we were restricted to the sizes the mats came in; we couldn’t get the heat mat under the tile of the entire bathroom, leaving a few areas where the tiles remain cold. But having that extra course of tiles heated wasn’t worth the price differential. It was easier to learn to take a bigger step into the hall bath if you were barefoot, avoiding the first row of tiles.
Another compromise – we had a lot more room in our former house. Finding places for things that went into our wall units and china cabinet meant more furniture. We ended up with a large curio cabinet in the living area. However, it doesn’t have any interior lighting, so as far as displaying treasures goes, it’s not really the perfect system. It ended up being a liquor and glassware cabinet.
We ordered two bookcases for the downstairs, but when they arrived, we realized that one was a shade too tall for where we wanted to put it. (Never thought about the bulkhead ceiling on that side of the room, or how tall the bookcases would be.) So, we found another spot for the second unit, which ate up several feet of wall space, meaning when we get furniture for the room, we’re going to be limited in what will fit where.
When writing, you’ll also learn to make compromises—unless, of course, you’re writing strictly for yourself. Everyone says ‘write the book of your heart.’ But if you want people to read your books, you’re going to have to consider what the readers want. The book of your heart might not be marketable.
Somewhere along the line, you have to decide which battles are worth fighting and which aren’t. Some, you’ll never win. If a publisher wants humor, and you’re not a funny person, maybe that’s the time to realize that your efforts might be better spent elsewhere. Or maybe they want deep, dark suspense, full of serial killers and psychopaths, and you prefer lighthearted mystery. Are you capable of writing what they want? Will you feel like you’re struggling to get each word on the page? Assuming you’ve done your homework and submitted your work to a publisher who publishes what you write, and it’s accepted, what’s next? You’re going to have to deal with an editor who works for the publisher, and knows what they’re looking (or not looking) for.
For example, my editor for When Danger Calls, one of my early traditionally published novels, told me the publisher would nix any use of the word ‘penis.’ She said their readers didn’t like to read it. Was there a point to arguing with this one? No. Easy enough to change.
Another publisher didn’t like the use of brand names. Sometimes, a brand name serves as an immediate image for readers. I had to fight (and contact the companies) to use Knob Creek and Denny’s in a book.
On a grander scale, some genres have their own reader expectations and publishers have their own guidelines.
Once you’re aware of what your publisher and editor expect, you’ll find that you’re compromising with yourself during the writing process. Just like you learn to avoid that first course of tiles in the bathroom, you won’t use those ‘forbidden’ words. If you’re writing a contemporary series romance, you’ll learn to get your hero and heroine on the page and involved immediately, because that’s what readers of that genre want, and the publisher expects you to meet their expectations. If you’re writing a mystery, your readers will assume it’s a “murder mystery” and they’ll want to see that dead body right away.
Even indie authors might have to compromise to meet reader expectations. I’ve written almost 35K words in my next Mapleton mystery, and there’s no dead body. Yet.
How about you, TKZers? Have you had to compromise to keep your submission or book marketable?
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When breaking family ties is the only option.
Madison Westfield has information that could short-circuit her politician father’s campaign for governor. But he’s family. Although he was a father more in word than deed, she changes her identity and leaves the country rather than blow the whistle.
Blackthorne, Inc. taps Security and Investigations staffer, Logan Bolt, to track down Madison Westfield. When he finds her in the Faroe Islands, her story doesn’t match the one her father told Blackthorne. The investigation assignment quickly switches to personal protection for Madison.
Soon, they’re involved with a drug ring and a kidnapping attempt. Will working together put them in more danger? Can a budding relationship survive the dangers they encounter? Available now.
Like bang for your buck? I have a new Triple-D Ranch bundle. All four novels for one low price. One stop shopping here.
Terry Odell is an award-winning author of Mystery and Romantic Suspense, although she prefers to think of them all as “Mysteries with Relationships.”
I am traditionally published and have two good editors had have yet to encounter a suggestion from either that I didn’t like…eventually. They’ve also saved my butt more than a few times when with their edits.
See–I need an editor for my comments. In the first sentence it should’ve bee: and have instead of had have.
My current editor is the same one I worked with when I was traditionally published, and we work things out. But since I’m the publisher, I have final say. She does warn me of potential lawsuits. Disney and Mattel, she pointed out, will come after just about anyone.
With my first published library cozy, I originally opened with Meg on her first day as temporary library supervisor dealing with a couple of problem patrons, but several of my beta readers wanted more setup, which is something cozies often do.
So, I wrote a new opening scene with Meg riding the bus to work, and fretting a bit about her first day, and then arriving and interacting with her best friend at work, Sassy, who teases her. Then I plunged her into dealing with the two problem patrons.
The betas were happy with the change–it grounded them in the world before I began upending everything. Cozy expectations are different than urban fantasy expectations, which is what I wrote previously. As an indie, there’s no hard and fast rules, but I do listen to my beta readers and take reader expectations into account.
Congratulations, Terry, on your new box set and n your upcoming BookBub.
Thanks, Dale. Knowing your audience and their genre expectations is a big part of the game.
All of my books so far have been traditionally published. There have been compromises along the way, particularly in the areas of titles and covers. When I first started writing for this publisher, I had a hard time with those compromises. But as time when on, I realized they actually knew what they were talking about when it came to reader expectations and what grabs readers’ attention (and what doesn’t). They had titling committees and cover committees with a ton of experience in these arenas. Yet they still asked me for suggestions and opinions on both. Because I was publishing in the Christian book market, I had to follow their rules regarding obscenities, alcohol (none for the hero or heroine), and sex scenes. The latter wasn’t hard for me. The only one I struggled with was the cusswords. I had good conversations with my editor about “authentic dialogue.” Some compromise could be reached. I learned to appreciate the give and take, the value of her experience, and the knowledge that my readers enjoyed stories so carefully constructed with great love by people who love stories and readers so much that they chose to work in the publishing field.
I choose not to use hard language in my general market thrillers, which some writers think is impossible if you want it “real.” Total misconception. I’ve had fun with creative ways to indicate language, and I know for certain you lose readers with the hard stuff. I’ve gotten plenty of emails and reviews thanking me for this. OTOH, I’ve never gotten one that says they’ll never read me again because I don’t have any swearing in my dialogue.
As for sex scenes, there’s more art in knowing how to “close the door” than in describing body parts. In those places I think in terms of a 1940s film noir. The reader knows what’s happening.
I, for one, love your “creative” bad language, Jim. You could teach a workshop entitled “How To Swear Without Really Swearing” at a conference some time.
I’d sign up for it! 😂
I used a very mild expletive in the manuscript for my first novel. My editor told me I should remove it because it wouldn’t win me any readers, but it might cost me many. Her very wise advice has been guidance for me in all my books since then. Like Jim, I get reviews from readers saying how much they love my books and thank me for avoiding explicit violence, explicit sexual content, and bad language.
It’s a narrow lane, but it’s the one I want to run in.
I don’t mind mild obscenities, especially after watching television these days. I use them in my everyday speech. I’ve only had one complaint, and that was about a character “taking God’s name in vain” which was one instance in one book. I replied telling her that I appreciated her getting close enough to my characters so they felt real to her. Haven’t had any other complaints.
In fact, just like using brand names to paint a quick picture, I prefer the word rather than stopping the read to figure out what the character’s really saying.
One editor wanted me to change a mild cuss word because “she didn’t like it.” That was her bias, and I left it.
I’ve had to compromise quite a bit to meet publishers’ demands. Didn’t like it at the time, but most knew better than me. The only time I wouldn’t compromise is when Kensington told me to change my antihero to a straight-laced protagonist. They said readers don’t like antiheroes who keep one foot on either side of the law. I disagreed and declined the contract. The Mayhem Series is now nine books (#10 in the works) with raving fans who love when my antiheroes step over the law.
Good for you, Sue. Changing an entire character would bug the heck out of me.
The resistance to brand names is silly. Companies pay media millions of dollars every year for a few seconds of screen time. When DALLAS and LIFE OF THE RICH AND FAMOUS type novels were the rage, one publisher actually offered deals to high end brands to be featured in their books. The standard rule of thumb is that a character can eat at McDonalds, but they can’t get food poisoning at McDonalds. Neutral or positive is okay, negative is not.
Disney sued a daycare center for having Disney characters on their fence. I was using the names Ken and Barbie as generic stereotypes for good-looking staff at a resorts and my editor told me it wasn’t worth the risk.
I’ve used other locations, names, etc., but as you mention, nothing bad can happen there.
Mentions of a brand name are one thing, using the brand images for your own profit is very different.
Thanks for the reminder about box sets, Terry. I need to get on that with my series.
The only compromise that bugged me a bit was the cover the publisher chose for my first thriller—lovely lizard green. But hey they were paying me so I didn’t squawk.
I agreed with the editor’s alterations but she deleted about 1000 commas. Guess the comma rules had changed since I was in school.
When I got the rights back to that book, first thing I did was commission a different cover—not green!
My publishers allowed input before the covers were designed, but as long as the title and your name were spelled right, there was very little in the way of changes. I did ask they switch the eye color of the hero and heroine (despite them using the then-popular ‘floating heads’) to match the way they were described in the book.
We’re not marketing people, and they should know what’s going to sell, but sometimes, you just have to cringe. I think Suzanne Brockmann was so upset about the way they depicted her hero that she put happy face stickers on however many books she could get her hands on.