Targeting Your Market Continued...
A friend of mine, who recently sold her first and second books, went even further to study the line for which she wanted to write. She took apart two Intrigue novels scene by scene to analyze the pacing and turning points. Another friend did all of the above and also read the dedications her chosen line to learn if any authors mentioned their editors, especially important in the books most like hers. Which brings me to the next step. Targeting the editor or an agent. Once you've decided on your line, it's important to send your book to a particular editor, and/or decide if you want agent representation. I did both.
I've heard that it's easier to target an assistant editor because they're interested in finding the stars of tomorrow so they can move up the editorial ladder, and I've also heard senior editors are too busy with their established authors to work with new authors. But the bottom line is that they're all looking for good books.
One way to target an editor is to send a query letter. That's a one-page letter along with which you can send a brief synopsis of your story. It's important to read the publisher's guidelines and send them exactly what they request. I started sending queries, but found it usually took as long to get a response as it did when I sent a partial (that's three consecutive chapters, starting with the first, and a synopsis, she said, cringing about her major faux pas). Another method is to meet an editor— to network. Attend a writer's conference that offers editor appointments at which you'll be able to pitch your book. Hopefully the editor will request to see a partial or the full manuscript, which can cut down your wait time immeasurably. Be sure to leave your card with the editor and, afterward, send a thank you note along with your one-page bio/pitch sheet. The next time you meet that editor, or send her a query letter, she "might" remember you. Editors are incredibly busy people who meet hundreds of writers at conferences every year, so if she doesn't remember you, at least your name may sound familiar.
Another good way to get in touch with editors is to enter contests in which editors are the final judges. If an editor likes your work, she may ask to see the full manuscript—or may even send a letter telling you where you went wrong. To me, that was worth the contest price. Regardless, do send a thank you letter and your card. When a busy editor is reaching for a manuscript, which one will she pick up first? The one with the familiar name, of course.
In the two years prior to my sale, I did everything I could to target my market. I met editors at writer's conferences, entered contests (see Contests, an article on my contest experiences) and I even volunteered to write a monthly Editor Spotlight column for my RWA chapter newsletter (see some of these interviews). By doing that, I had the ability to contact different editors and ask all kinds of questions. During one interview, I received a tip from an editor who said they were expanding their line from four to six books per month. It was the Harlequin Superromance line, the other line I'd originally thought about targeting. Since I was doing the interview, it wasn't the appropriate time to inquire about my own writing, so I simply sent her a copy of the newsletter with the interview I'd written, and a thank you note—then I read every book I could in that line, specifically those written by first-time authors.
It wasn't long after that when my book was chosen as a finalist in the prestigious Golden Heart Contest for unpublished writers. As a result, I met with a different editor from Harlequin at the next RWA national conference and pitched my book. She requested to see the manuscript. Excited, I went home, polished the book even more and sent it in. Four weeks later, the editor I'd interviewed for my chapter newsletter called me to purchase Her Sister's Secret. Six months later, I sold another book, Daddy in the House, to Harlequin Superromance, and I hope to sell many more.
What did I learn on my long road to publication? That if I wanted to sell, I needed to target a specific market. But more than that, I learned that my "niche" wasn't where I thought it was. Yes, I'd picked a line I enjoyed reading, but I was working hard to make my writing fit that mold instead of targeting the line I liked to read and which best suited my writing style. I discovered that while I didn't have to change my style or voice to fit a particular line, I did need to write a story an editor wanted to buy and which fit the line I'd sent it to. I learned I had to do everything I could to make it happen. If I didn't succeed, it wasn't going to be because I hadn't given it my all—and then some.
During one of my editor spotlight interviews, I asked an editor: "What is the most important piece of advice you can give aspiring authors?" Her answer, "Write a good book." She said, "I often suggest strategies like entering contests, or making personal contact with an editor, because those things do help—but none of them matter unless you've written a good book. Take your craft seriously, always striving to improve—this is what will make the difference."
Great advice, and to that I would add, write from your heart—because your work will shine when you do. And never give up!
Back to the Files
