Pub Rants

Category: Publishing/Publishers

Submit Now Or Later?

by Kristin Nelson

STATUS: Work all morning. Meetings all afternoon. That’s New York!

What’s playing on the iPod right now? HEY JACK KEROUAC by 10,000 Maniacs

Yesterday I had an agent friend who doesn’t handle a lot of adult trade fiction shoot me an email with an interesting question. She asked this: with fiction, she had heard that some agents were not even submitting right now and were planning to wait 6 months to let things settle down. In other words, things were a little volatile right now with lay-oofs and projects that might have been bought 6 months ago were now being passed on in this current cautious climate. (Hard to sell a project if you are unsure the editor is going to be there 2 months from now.) Since I did a lot more adult fiction than she did, what did I think?

Darn good question. To be honest, I didn’t have an answer. I’ve been doing quite a few deals as of late but all for current clients who are already established at their houses. None for debut authors in the adult field. Now I do have some YA submissions out but that’s not the same thing.

Since I’m here in New York, what better way to find out than to ask? Well, the lucky editors at St. Martin’s Press were first up to bat so I asked them, what is SMP’s stance on buying adult fiction?

Here’s what was said:

1. They had wondered why it had been so slow. They weren’t seeing the usual amount of submissions that normally happens for this time of year. (Interesting.)

2. That SMP (and this was emphatically said) was aggressively buying so bring it on. (Nice!)

3. Major accounts were tightening their buy lists. Not ordering as much and not as far in advance. (I’ve heard this from several places—not just SMP.) So if a project is borderline in terms of an editor loving it, they might pass. (Agents might not be submitting right now in order to not risk this.)

So what had they bought recently? SMP just paid big money to lure two mystery authors to the house. One editor had bought two novels—a mystery caper and then a literary commercial novel about a Viet Nam soldier and his specially trained German Sheppard who worked as a team in a special army unit.

You know how much I love dogs. I would have LOVED to have seen that second novel. History. Dogs. A War. Gosh, no one ever sends me that kind of stuff. Oh wait. Hotel On The Corner Of Bitter And Sweet (although there are no dogs in that one.)

So novels with that intense emotional hook or connection. Check. Historical novels. Check. American based narrative mystery or crime nonfiction (a la Devil In The White City). I don’t do but check. Memoir. Check. And I learned a new term. Editors are looking for midstream mainstream. (i.e. Stuff in the Jodi Picoult realm where it’s ordinary people faced with extraordinary decisions about real problems).

Midstream mainstream. Try saying that 5 times fast! (I think I just call it upmarket commercial fiction.)

Okay, check.

Get Specific Names

by Kristin Nelson

STATUS: I totally forgot to blog last night.

What’s playing on the iPod right now? LONG HOT SUMMER by Style Council

It sometimes happens that a writer lands an agent, goes on submit, but then the agent gives up after just a short time or a few submissions.

Personally, I can’t figure out what the agent was thinking. Why bother taking on someone if you don’t think you can commit for the long haul? Besides, every agent I know has a story of getting 30+ rejections and finally selling the book. It only takes one! Such a cliché but often true. I’ve even heard of agents taking up to 2 years and 5 years to sell a project.

But that’s an aside. Let’s say this has happened to you (as awful as that would be). Here’s the info you need to be an animal about getting from that former agent. Bug that person with emails and phone calls (politely of course—I always advocate being professional and polite) but do annoy them until you get the exact names of the editors who saw the work and the imprints/houses. And if you can get the responses, that’s even better!

Why?

Because if a new agent is going to take you on, it’s imperative to have that info. (And just about every agent I know has taken on at least one client who has been previously submitted so it happens.)

Here are a couple of reasons why we need the info:

1. If I have the submit list in hand while contemplating offering representation, I can clearly see if I think the former agent sent the work to the right editors or not. If they haven’t, heck, I’ve got a clear field and can probably sell the work by getting the project into the right hands.

2. Having the info allows me to weigh my decision on whether I think there are enough viable other places to take it to.

3. The editor list lets me see if an editor has left publishing or has moved to another house and suddenly, I’ve got a clear shot at that imprint again. It’s musical chairs in publishing.

4. The editor list allows me to pinpoint an editor who has already seen it (maybe a year or more ago) and I can sway him or her to look at it again if we’ve done a big enough revision on it that I can pitch it like new.

5. Some editors are notoriously bad at never responding and if that’s the case and I see that on the list (and the responses you have—or lack thereof), I can target a different editor at that imprint and it’s like submitting fresh.

6. There’s nothing worse than not knowing that a project you took on was previously shopped and you, the agent, now have egg on your face when an editor writes and tells you that they’ve seen it before and it was NO then and it’s still NO now. Ouch. That pisses me off and so if you have the editor list, then you can give it to me before this can happen.

Not to mention, it’s your right to know who has seen your manuscript, who turned it down, and what they said about it so even if you are parting ways, get that info. Most agents (I hope) are good people and happy to give you that info as a matter of course but if the agent isn’t doing it, be wonderfully annoying and politely make it clear that you will continue your inquiry until they do. They may just send it your way to make you go away!

Brenda Novak Auction to Start and Final London Wrap Up

by Kristin Nelson

STATUS: Getting ready to head out the office door. I do plan to do reading tonight from home.

What’s playing on the iPod right now? LUSH LIFE by Natalie Cole

It’s that time of year again! Time for the Annual Online Auction to Benefit Diabetes Research by the indomitable force of nature and wonderful author, Brenda Novak.

And I’m here to highlight that Nelson Literary Agency really stepped up to the plate this year and is offering a WHOLE page of items to be auctioned off.

Just to whet your appetite, I’m giving away breakfast with me at RWA and a writing critique with a 24-hour turnaround time. I will spend several hours on this critique—editing it just like I would a client’s manuscript.

Sara is offering a query-free submission.

NYT Bestselling author Jamie Ford is answering 10 Questions.

Sherry Thomas, query writer extraordinaire, is offering to help you whip your query into shape.

Mari Mancusi and Courtney Milan are offering opening chapters critiques.

Hank Ryan has her own page of good stuff!

And that’s just a brief glimpse of what is available. You might want to check it out.

But back to my London list as promised. I’m skimming through my notes and typing up what I see.

Germany
Looking for upmarket commercial fiction—not too literary
Crime fiction
Exotic and/or generational saga
Boy meets Girl with a literary voice
Commercial historical fiction

Finland Children’s
Literary fic as the market is strong
Fantasy
Science fiction is working

France
Fantasy
Chick lit
Historical romance
Historical fiction

UK
Romantic comedy with lit voice
Jackie Collins type novel
Literary vampires—like the Abraham Lincoln Vampire hunter or literary zombies
Books good for reading groups
Commercial women’s fiction
Mystery that is slightly cozy but has a dark edge
Urban fantasy
Paranormal romance
Horror (must be sophisticated)
Big historical fiction
Literary thriller

That’s all else she wrote.

Wrapping Up The London Book Fair

by Kristin Nelson

STATUS: I can’t say I’m completely recovered from jet lag but it’s definitely getting better.

What’s playing on the iPod right now? TROUBLE SLEEPING by Corinne Bailey Rae

So here’s the wrap up from London. First off, I had dinner with a good agent friend Jennifer Jackson while I was there and she had some huge news to share with me and since it’s so big, I have to blog about it.

I mean, it’s not every day that one of your clients hits the New York Times Bestseller list. And you know what? It’s not every day that the client nabs the #1 spot. This deserves a special shout out.

So CONGRATS Jennifer!!! (And maybe I should say congrats to Jim as well. After all, the author probably had something to do with it… Grin)

#1 NYT Bestseller TURN COAT

But back to talking about LBF. In browsing through Waterstone’s and Borders, it was very clear to me that the UK publishers definitely have a focus on literary fiction. There large book stalls that featured the classics. (I mean when is the last time you saw Thomas Hardy prominently featured in a book store?) Also, a good majority of the floor space was dedicated to contemporary literary fiction. Titles such as Aravind Adiga’s THE WHITE TIGER and Steig Larsson’s GIRL WITH A DRAGON TATTOO were prominently displayed.

Although quite popular here in the states, I really didn’t see any Edgar Sawtelles out and about on floor displays.

I talked with editors from the UK, Finland, Netherlands, Germany, France, Italy, Brazil, China and Japan. Every single one of them asked about literary fiction that could have broad appeal. In fact, in several of the foreign territories, literary fiction sales were up. In talking with the editors, it was clear that it has a strong market abroad—in a lot of ways, much stronger than here in the States were lit fic can do well but lit fic with a commercial bent can be blockbuster. Some commercial literary titles like MEMORY KEEPER’S DAUGHTER did well across the seas but WATER FOR ELEPHANTS was stronger here at home.

Just interesting.

In Asian territories, literary/commercial historical fiction doesn’t work at all. The editors won’t even look at it. However, UK and European editors say bring it on–they’d love to look.

I may add more to this blog tomorrow as my notes are at the office (where Julie is typing them up!). I headed home early because the weather was bad and Chut is fundamentally opposed to walking in the rain. I’ll glance through them and see if I can come up with a few more “this is what they are buying” lists because I know how much my readers like it.

Jackie Collins Anyone?

by Kristin Nelson

STATUS: Last day of the fair. It might be 1:00 a.m. Denver time but I’m up and at ‘em to tackle the last round of meetings.

What’s playing on the iPod right now? LIES by Glen Hansard

As I mentioned last week, one of the first things I did when coming to London was to check out the area bookstores. In looking at my notes from my Waterstone’s visit, the most interesting thing that sticks out for me is how popular sophisticated urban contemporary women’s fiction is.

Oh, you read that right. I just wasn’t using the term we called it over here in the States.

Chick lit.

This is a genre that actually still works across the pond. In fact, I even had a French editor ask me if I had any shopping in the city with martinis and twenty-somethings. Didn’t even have to be front list. She was happy to consider back list titles for publication in France.

Could have knocked me over with a feather because unless you are already established in the US (Sophie Kinsella anyone?), it’s not something editors say they are actually looking for.

On the shelves of Waterstones, I saw many titles by Marian Keyes prominently displayed. An editor of an imprint at Random House mentioned that Jessica Brody (The Fidelity Files) was working quite well for them.

Check out the cover. Classic chick lit if I’ve ever seen one.

Another popular author is Susy McPhee for the older set (Husband & Lies and The Runaway Wife). The editor even called it hen lit.

So interesting. But here’s what floored me. I visited all the major houses in UK and every editor mentioned that escapist fiction was working for them (well, no surprise given the economy) but what they were looking for was the big epic dishy and glamorous titles I have always associated with the 80s and Jackie Collins. Think Tasmina Perry’s Daddy’s Girls.

One house had high hopes for Immodesty Blaize’s soon-to-be-released Tease.


I can’t say I’ve had any editors in the US ask for the same. There was some excitement two years or so ago for Tilly Bagshawe (sister of the well established UK author Louise) and her debut called Adored but I don’t think it did as well as they had hoped over on this side of the pond.

I’ll be heading to New York for Book Expo next month. We’ll see what the US editors have to say then. Tomorrow I’ll be on a plane most of the day heading back to Denver so probably won’t be blogging. But don’t worry, women’s lit and shopping weren’t all that the UK editors were looking for. Literary fiction and upmarket commercial fiction is high on their lists as well. I’ll look through my notes and blog, hopefully, on Friday.

Have a happy Wednesday!

What UK Children’s Editors Want

by Kristin Nelson

STATUS: Spent the day being a lovely tourist instead of working. And sorry for the tiny covers of yesterday. My computer or Blogger was not cooperating and despite efforts, I couldn’t get the pics to upload bigger and I didn’t have time to fiddle.

What’s playing on the iPod right now? ACCIDENTALLY IN LOVE by Counting Crows

To kick off the blog entry, here is a lovely shot of Blenheim Palace from the gardens.


Alas, Colin Firth did not emerge dripping wet from any neighboring lakes or ponds—much to Sarah Rees Brennan and my great disappointment.

Now that I’m back at the flat, I’m flipping through my little notebook of scribbled writings. From what I can decipher (as my handwriting is not always the best), here are some things UK children’s editors are looking for. In no particular order and a nice sum up of what several editors spotlighted:

–More boy adventure books (although one publisher specifically said their list is full in this arena so not as high on their list)
–YA historical
–would love a prize-winning new teen voice along the lines of HOW I LIVE NOW
–Funny with beautiful writing (so a blend of literary with a really fun story line)
–a modern Anne of Green Gables
–middle grade fantasy that is a girl-driven narrative
–humorous girl stuff that is more than just boys and relationships but is warm, and character driven. Not necessarily issue driven
–high concept middle grade with a really original voice so it can stand out.
–anything that can crossover solidly to the adult market (ie. THE CURIOUS INCIDENT OF A DOG IN THE NIGHTTIME)
–fantasy
–a contemporary author with a literary, classic voice. (hum.. that seems to tie in with the modern Anne of Green Gables example above)

Different houses did have different feelings on the market. One house thought that Meg Cabot and her popularity was in the past and another thought she was still burning strong.

I got a sense that all the editors would be open to anything romantic. No surprise there.

And even though I know my blog readers love my lists, it basically comes down to this. Editors want an original story well told.

In that sense, the US and the UK are the same.

US vs. UK

by Kristin Nelson

STATUS: It’s been some late nights this week and trust me, my proofreading skills are abominable when I’m blogging regularly, just imagine what it would be like if I were blogging at 1 a.m. London time.

What’s playing on the iPod right now? ENGLISHMAN IN NEW YORK by Sting

And no, this isn’t the Battle of the Titans. What I’m learning is just how different these two markets actually are. Intellectually I know this (and have always known this) but I also think we like to lump it all together and say, hey, we all speak the same language (although the Brits might argue that point) so if we share the lingo, shouldn’t we share the taste? For some books, yes, this will align and match up but for a slew of other books, we couldn’t be further apart even if the ocean was wider between us.

To get a sense of the retail environment, I decided to check out the Borders at Oxford Circus, the Waterstone’s at Piccadilly Circus and then I popped by a Books etc. at Hammersmith. I’m not saying that this is fair representation of all the stores in town; it’s just the ones I managed to visit while I was here.

I took some notes on my observations and then shared it with all the editors I’ve been meeting with this week on both the children’s and the adult side of publishing. If I covered everything in one entry, this would be one heck of a long blog so I’m going to start on the children’s side. I’ll also try and do a couple of entries over the weekend to make up for my general radio silence this past week. Starting on Monday, it’s back to full days and spotty blogging.

So what is clear to me:
1. Boy adventure books are prime time in the UK. Eoin Colfer’s AIRMAN and the young James Bond books. It’s not to say those didn’t do well in the US, they did; however, shelf space, front table displays, etc. is all about the boy adventure books here in the UK. I wouldn’t say it’s getting equal time in the US. And another interesting tidbit. Sometimes wild success in the US does not translate completely over to the same success in the UK.

For example, Robert Muchamore and the Cherub series is big, big, big in the UK. They did do a US version and it hasn’t taken off as much as they hoped. In reverse, Riordan’s Percy Jackson & The Olympians series is big, big, big in US and although it’s seems to be growing in popularity in the UK, it hasn’t been quite the phenom it has been stateside.

39 Clues. Not making a dent in the UK market.

2. Some books nail both sides of the pond with equal success. Can you guess at the two titles with matched overwhelming success? One primarily has female readers; the other mainly male readers.

Oh, I’m sure you guessed one right off the top of your head and you’d be right. TWILIGHT series is equally popular in the US and UK. Interestingly enough, so is DIARY OF A WIMPY KID.

Rather cool, wouldn’t you say?

3. Another interesting observation at the UK bookstores that I wish they’d do more of in the US. All three of the UK stores I visited, did crossover shelving in the children’s and adult areas. Here are three titles that were shelved in both sections:
a. Twilight
b. Graceling
c. Harry Potter

The Harry Potter books even had different, adult covers. There might have been more titles but those were just three that I managed to glimpse while browsing the book stalls. I love that. I don’t think I’ve seen a teen book shelved in the adult section of a US Borders, BN, or even at the Tattered Cover. I could be wrong as I just might need to pay closer attention but it looked like it was rather common practice here in England.

And last but not least for this entry, US and UK covers couldn’t be more different if you tried. For example, I was showing editors my upcoming titles that will be releasing in the UK this fall. I had both the US cover and the UK in my portfolio for people to see, pick up, look at cover copy etc.

For Helen Stringer’s SPELLBINDER, all the editors said, “ah, yes, that’s a totally US approach. That wouldn’t work over here.

And then when I showed the UK cover, all their faces lit up and they really oohed and ahhed over it. They couldn’t help themselves and had to pick it up.

That was absolutely fascinating to me! These two covers, the titles, the approaches are radically different as you can see.

Let’s hope that both sides of the pond are right in what kids will reach for when the book hits shelves.

Editor Letter For The Pain Merchants

by Kristin Nelson

STATUS: Just survived my first crushing London rush hour Tube commute on the Piccadilly line. Talk about being up close and personal with my UK compatriots…

What’s playing on the iPod right now? WAKE UP CALL by Maroon 5

I’m having lunch all week with different UK editors—some in the children’s world and some in the adult world. I’ll start blogging about any interesting tidbits I discover tomorrow. I didn’t want there to be too much distance between when I discussed Janice’s original query and the letter I submitted to Donna. We had actually talked about this project a month or two before I submitted it. If memory serves, I was sitting at Donna’s table at Book Expo when I first pitched her this project.

As you can see from my letter below, I always like to pull out what is the most interesting facet to me. How I think this work is different from the multitude of fantasy titles already in existence. For this novel, it’s grappling with the question of whether the ends justifies the means that really stands out for me. So often, middle grade doesn’t focus on that gray area much and I think it’s handled beautifully here.

Also notice that I pulled in some pieces from Janice’s original pitch blurb—especially sentences that I thought captured the tone/voice of the story.

Hello Donna,

As promised, I’m finally submitting to you THE PAIN MERCHANTS by Janice Hardy. What I love most is the ethical question at the core of this novel. At the most basic level, this novel is about whether the ends justify the means and the main character Nya is more than willing to sacrifice a principle or two in order to save her sister.

But then where does one draw the line? Nya is already pushing the boundaries of what could be considered the “gray” area between right and wrong. Is it possible to slide across that line and down a path that will have too many consequences to allow a return to goodness?

That’s at the heart of this children’s fantasy. Here’s a peek at the storyline:

Fifteen-year-old Nya is one of Geveg’s many orphans; she survives on odd jobs and optimism—finding both in short supply in a city crippled by a failed war for independence. Then a bungled egg theft, a stupid act of compassion, and two eyewitnesses unable to keep their mouths shut expose her secret to the two most powerful groups in city: the pain merchants and the Healer’s League. They discover Nya is a Taker, a healer who can pull pain and injury from others. Trouble is, unlike her sister Tali and the other normal Takers who become league apprentices, she can’t dump that pain into pynvium, the enchanted metal used to store it. All she can do is shift it from person-to-person, a useless skill that’s kept her out of the league and has never once paid for her breakfast.

When a brutal ferry accident floods the city with injured and the already overwhelmed Takers start disappearing from the Healer’s League, Nya’s talent is suddenly in demand. But what she’s asked to do with her healing ability is beyond wrong and she refuses until her sister Tali goes missing. Finding her sister means taking on the League and to do something that stupid, she’ll need what only her “useless skill” can get her. As her papa used to say, principles are a bargain at any price, but how many will Nya have to sell to get Tali back alive?

The author Janice Hardy is a member of the Georgia Writer’s Association and is active in several workshops and critique groups. Her fiction has appeared in Dimensions (A local lifestyle magazine), Predictions (a local genre magazine) and Air Currents (The In-flight magazine for Continental Connection). She’s also an instructor with Writer’s Online Workshops—teaching Essentials of Science Fiction and Fantasy Writing and Fundamentals of Fiction. Besides being a writer, she also has seventeen years of experience as an editor. Currently, she’s the editor of The Bahama Out Islands Destination Guide, and works closely with editors and authors on a variety of travel and lifestyle publications.

Enjoy!

All Best
Kristin

Guest Blog: Janice’s Editor Donna Bray On The Pain Merchants Title Change

by Kristin Nelson

STATUS: TGIF! As you know, I’m off to London this Sunday. That means blogging might be sporadic for the next 2 weeks while I’m abroad but I’ll try and keep y’all in the loop on UK happenings and the London Book Fair.

What’s playing on the iPod right now? THE COURIER from Last of the Mohicans soundtrack

Our guest blogger for today is Donna Bray, co-Publisher at Balzer & Bray, an imprint of HarperCollins.

“I wonder if anybody at the publishing company is reading these (great) comments and wishing you guys were in on the brainstorming sessions!”

As a matter of fact… we are.

Many thanks for Kristin for letting me guest blog here in response to her posts, as well as the dozens of interesting, smart, and impassioned comments.

An important part of an editor’s job is balancing the creative vision of the author with the realities of the marketplace. And there are dozens of people involved in this balancing act with me –- sales, marketing, publicity, design, production — all of whom care deeply about book. And certainly in the case of Janice Hardy’s book, the folks at Harper were incredibly excited about her as a writer and about the potential for the trilogy. So, you can take the extra interest as a blessing or a curse. If these people didn’t love the book so much, they would not have invested so much time and money in getting the best possible title and jacket.

(Ah, the jacket –that’s a whole other post.)

I myself take it as a blessing.

But to answer another reader’s question — “Do they ever tell you why they change the title for a book?” The short answer is – yes! The long answer speaks more to my publishing philosophy — there was no “they,” only “we.” A book doesn’t suddenly become my book or Harper’s when I acquire it – it belongs to “us”, and we all want the same thing – to create a wonderful book with an arresting package that will get great reviews and sell, sell, sell.

So, back to THE SHIFTER: While I do still like the title THE PAIN MERCHANTS (as I see many of you do, too!), I can also see why our sales team were leery of it – is “pain” in the title a turn-off? Is it misleading, or not middle-grade enough? To their credit, despite their initial hesitation, sales came around to the appeal of the title and presented the book to the retail chains as THE PAIN MERCHANTS – only to receive a negative reaction there.

I shared the feedback with Kristin and Janice at every stage of this process, and together we decided to explore different options. We were at a bit of a loss, at first (see Kristin’s list of other, discarded titles -– was there anything we hadn’t already thought of?!). But ultimately we made the right decision — we all wanted to give this first novel its best shot at success. We came up with a title that reflects the story (it is about a shifter, after all) and that feels middle-grade and fantasy. This could lead into another discussion of the importance of strong and clear positioning of a title from the outset… but let me not digress, especially in another person’s blog.

I have in the past stood up for a title that sales was unsure of — some felt, for instance, that WE ARE THE SHIP by Kadir Nelson was not obvious enough, even with the subtitle “The Story of Negro League Baseball.” Every day, editors and publishers do support the vision and instincts of the creative people we work with –- and we bump up regularly against the demands of the marketplace, which presents more and greater challenges daily. We may struggle on the way to the final book, we may disagree, we may have difficulties or disappointments -– but if it all begins with the idea of “we,” there’s a much better shot of getting to happily ever after, with author, agent, and publisher counting our big piles of beans…

The Pain Merchants Title Saga

by Kristin Nelson

STATUS: I leave Sunday for London and the London Book Fair. I’m heading out early as I have a whole week of meetings with UK publishers.

What’s playing on the iPod right now? I WILL ALWAYS LOVE YOU by Whitney Houston

Titles are always a fascinating discussion I think. For this project, the author Janice Hardy and I were involved every step of the way.

First off, and you couldn’t tell this from the original pitch blurb, THE SHIFTER is middle grade fantasy. When Donna Bray at Balzer & Bray (HarperCollins) bought the trilogy, she mentioned that the title would probably have to change for this audience. Since titles change all the time, it wasn’t a deal breaker—especially when Donna pre-empted in a very good deal (in Deal Lunch speak). We were over the moon to be part of the Balzer & Bray debut imprint launch list which is happening this fall. We’ve gotten lots of extra press that might not have happened if that weren’t the case.

But back to the title. As Janice mentioned in the comments section, her UK publisher is actually keeping the original title. I guess what works across the pond gets the thumbs down on this side of the Atlantic.

So here’s the saga. We knew right after the sale that a title change was requested so we got cracking on some alternatives. Right off, we came up with a title that everyone at B&B liked.

So the title “The Pain Merchants” shifted to “The Healing Wars: Nya’s Curse.”

Great. All parties were happy. Then Donna went to sales conference and the title didn’t play well with the sales reps but they like The Pain Merchants. So back to the original title (which of course Janice and I were pretty happy about).

Great. We were set. Got the title. We were also involved in the cover discussion at this time. We saw at least 4 or 5 different cover concepts that were being considered. Settled on one that we all loved. Then that got shot down at sales conference as well. Back to the drawing board for the cover but hey, at least we have a title, right?

Nope. Then sell-in to the various accounts happened. The accounts didn’t like the title (but were great with the new cover concept which is the cover y’all saw yesterday).

Okay, we couldn’t have Healing Wars or Pain Merchants. How about Pain Shifter?

Nope. That didn’t work as the accounts didn’t want the word “pain” in it. When BN, Borders, and the bigger independents say nay, guess what happens? You ditch the title and come up with something else.

THE SHIFTER is what the accounts liked so that’s the title. With the really wonderful cover art, I think viewers will get that it’s fantasy and not paranormal (which would be shapeshifters, vampires and the like).

Also, if you look under Janice’s name at the top of the cover, you’ll see we managed to save something. We liked “The Healing Wars” for the series title and there it is.

Here’s a partial list of some of the titles we played with (and hey, they can’t all be gems!):

A Talent for Trouble
A Touch of Trouble
Hands Full of Secrets
Sisters of Hope and Sorrow
Unwanted
A Choice for the Hidden
The Luminary’s Bane
The Broken Healer
Healer’s Curse
The Secret Shifter
A Bargain At Any Price
The Pynvium War
Takers
The Missing Apprentice
The Price of Pain
The Price of Pynvium
She Who Has No Choice Has Trouble
Killing Touch
Shifting Pain
A Choice for Those Who Can’t Choose
The Secret of Pynvium
A Miracle for Geveg
Trading on Misery
Trading on Pain
Nya’s Curse
Nya & The Luminary
Nya’s War

Tomorrow I’ll share the submission letter.