Last week was the 10th anniversary of The Wrong Bride, my first print book. My writing has changed since that book, but so has my idea of what it takes to be a romance writer. I reflected some of my career mistakes here and promised to discuss some things I’m glad I did during my career as a published author.

So aspiring authors and newbies, take note:

I’m very thankful that I researched my agent and publisher.

I know, boring, right? But before I published in New York, my agent search was haphazard. I only looked for an agent when I was fed up with the submission process. This is the worst time to look for an agent. I needed to decide who was my dream agent and I needed to figure out how to become her dream client. But how could I do that? Easy:

*Track her deals. Sign up for Publisher’s Lunch or see if she mentions it on her website. Watch what kind of books she sells. Familiarize yourself with her authors. Read some of their books.

*Find out what impresses her. A lot of agents have blogs, Twitter, and do interviews. Is your dream agent interested in contest wins or is she impressed with self-published authors?

When I first decided on my dream agent, I was already writing for a New York publisher. I tried to get her to represent me, but she’s one of those agents who won’t sign you on just because you already have a book deal. A few months later, after tracking her deals and figuring out what interests her, I knew what to do to present myself as a good investment. I went to a conference specifically to meet her and got her as my agent. She still represents me and I am incredibly fortunate to have her in my corner.

Researching publishers

There is more to researching a publisher than reading their submission guidelines. You need to know how they operate. Do they usually offer a one book contract or three? Do they have a superstition and think any author’s name with a J will be a hit? (I’m not making that up.)

I remember when I joined an author e-mail group for everyone who wrote for the same romance line. At first I thought the group was a waste of time and energy because authors have a tendency to create drama and complain, but eventually I learned to read between the lines and understand the culture of the publishing house. It is the quickest way to learn the publisher’s most frequently used negotiating tactics, and when it’s time to implement your exit strategy.

When I went to another publisher, I immediately signed up for the author e-mail group and I paid attention. I quickly figured out the culture and learned editors’ behavior patterns based on what other authors said. Knowing how the publisher operated and how my editor did things allowed me to get projects through without too many obstacles. Recently I met up with an author who used to write for the same publisher. She told me she wished she had done this because she and her agent were given the run-around. She had been in a holding pattern for two years before she went elsewhere. She felt like she  had lost two years she couldn’t get back.

Sometimes you don’t luck out and find an e-mail group of authors. I recommend seeking out authors who write for the same publishing house or line. Many are willing to talk about their experiences. Find an author at an RWA event, take them out for coffee, and start asking questions. Then find another author and do the same. The more you do this, the better picture you will get and you will learn so much!

What else am I glad I did? It has to do with research again:

I’m glad that I kept reading romance while I was writing.

You’d think this would be a no-brainer. However, quite a few writers claim they don’t read while they’re writing a book, or they don’t read in the genre they write. Some say that they don’t have time to read anymore because of their writing schedules. I understand their arguments, but I think they’re making a big mistake. Of course reading doesn’t replace the necessity of writing, but I believe reading judiciously can make you a better author.

I learn a lot just when I read for enjoyment. I notice how the author worked a plot twist or created a memorable character. I have also found that reading an author’s extensive booklist from the debut to the current release allows me to see how a talented writer develops. An established author can sweep me away from the first page because they have honed their storytelling skills and the craft of writing. It’s in every novelist’s best interest to find out how the masters do it.

If you’re reading to be a better romance writer, I recommend reading:

*A new release from the line or publishing house you’re targeting. It doesn’t have to be a release that month, but in the same calendar year would be best. A lot of people suggest reading something from a debut or relatively new author. I agree with this from a marketing standpoint so you know what the editors are looking for in a first book.  However, there is something to be said about reading a book from an established writer. These authors show confidence in their writing. They can break the rules because they know how to execute the characterization or an iffy plot point and make it work.

*Read a book that hit the USA Today, Publishers Weekly or New York Times bestseller list. I would suggest reading a bestseller in your sub-genre, but any romance that hit a list can be helpful. When reading the book, pay close attention to the author’s craft. Also look at the big picture. What did she do to tap into the reader’s wish fulfillment or how did she hook them in, making this book a must read.

*Read something outside your sub-genre. Romantic suspense offers the reader a tight plot. For paranormals, it’s world-building. Each subgenre has reader expectations and a writer can get inspiration for their story without having to delve into genre-blending.

Reading with the intent to be a better author is yet another time commitment, but it does help you with your craft, it keeps you current with the market, and it’s motivation whether you loved or hated the book. Above all, it reminds you why you enjoy storytelling and why you’re doing all this in the first place.

Ten years ago this week I held my first print book in my hands. I still remember the sense of achievement and joy. The Wrong Bride had been released in December 2001. It was a UK release and the publisher had mailed a copy because I wasn’t able to get it in stores here in the United States.

I’m surprised that it’s been ten years and I’ve learned a lot during that time. I am thankful for having savvy editors, a tenacious agent, and the chance to write the stories I want to read. But if I had to do it all over again, what would I do differently?

Well, here’s my answer. For all aspiring and newbie authors, take note.

The first thing I would do differently is come up with a clear definition of what I  write. I’m not talking about the subgenre of sexy contemporary romance. And I’m not talking about the taglines you often see on websites such as “glamorous, dramatic romance.” That comes later. I’m talking about the themes that often pop up in your work when you’re not even trying. It’s usually the message or moral of the story, although I hate to use those words because you’re not preaching to the reader. The theme can usually boil down into clichés like “love is blind” or “home is where the heart is.”

How do you know what your themes are?

* If you’ve written a lot of manuscripts or synopses, what themes keep popping up?

* If you don’t have a lot of story ideas to compare, look at your favorite books and movies. What themes keep popping up? What is it about those themes that interest you, and does it show up in your story ideas?

Why do you need to know your themes?

It’s helpful when you pitch your story to your editor or agent. If you know your overall theme, you can focus on that and get the message across clearly and quickly.

When I first started pitching stories to my editor, I couldn’t understand why some of them were rejected because they had all my marketable traits. The editor couldn’t explain why they weren’t excited about the idea. The only guide I could get was that “something was missing” or “it’s not like what we’ve bought from you before.” I gradually understood that the stronger my theme was in the story, the easier it was accepted.

When you know your theme, you can sell your work, comparing yourself with some writers, while at the same time setting yourself apart.

Let me put it to you this way: Have you noticed how many cats are in cartoons? There’s Tom from Tom and Jerry. Sylvester from Sylvester and Tweety, and Garfield. I’m sure there are more and the cartoon world would welcome new cat characters because they are popular. Let’s say you draw the Tom and Jerry cartoon. What makes Tom different from Sylvester? What makes Tom different from Garfield? What makes Tom the same, so you can understand how Tom will appeal to Sylvester and Garfield’s audiences?

Now when you are deciding your themes and taglines, think about what you bring to the publisher and reader. What adjectives come to mind when you talk about your work? And which of those adjectives do what to accentuate for your audience?

Once you know your theme, it helps you remain focused and consistent about the stories you’re delivering to your audience. This is going to be important and it brings up my next point:

The second thing I would do, if I could do it all over again, is make a career plan.

It’s difficult to make a career plan when you don’t know when you’re going to make the sale or who is going to be your publisher. That’s the main reason I didn’t make a detailed career plan. There’s so much that is not in your control.

Because I didn’t have a plan, my career was driven by how many books I was contracted to write. I was under the assumption that the more work I got out, the better it was for my career. If I was writing too many books for my publisher’s liking, I wrote for another line under a pen name.

Writing as fast as you can is not a great career plan, although it has worked for some authors. But it’s a lot like building a house of cards. If you get sick or something happens in your personal life, you realize how fragile your career is when you can’t devote all your time to it.

I’ve notice a lot of prolific authors are suddenly sidetracked with health and family issues. They can’t meet one deadline and then another. It can get messy and ugly, and it can take a few years before you can regain your momentum and your professional reputation. So no matter where you are in your career, have a plan.

* Start by deciding how many books you can comfortably write in a year. Most publishers would like a minimum of one book every 9 – 12 months. Harlequin wants three books a year.

* You have the power to decide the deadline unless it’s for an anthology or author series. Add extra time as insurance. Don’t make your deadlines too tight because you want to be available for an unexpected opportunity, or when you looking to jump houses and need time to write a proposal.

*Imagine your ideal work day with the life and commitment you have now. Don’t forget about the work associated with writing (revisions, copyedits, paperwork.) Also, do you want to do a lot of conferences or book tours? Consider these factors in your schedule.

*Define your goals and see if they align with your ideal work schedule. Your goal doesn’t have to be the bestseller lists. It could be that you want to make a certain level of income each year from writing. (Find out if it’s possible by visiting Sabrina Jeffries  or Brenda Hiatt‘s  websites.) Or do you want to receive a special recognition, like a contest win or rise to a level in your publisher’s hierarchy? Or do you want to get more involved with the RWA? Your immediate goal might be to quit your job and write full-time. That could take a while so start planning how you’re going to get there.

Bottom line: I regret not having a career plan, and I regret not understanding my core story. Next Wednesday, I’ll tell you two things I did that made a positive impact during those ten years.