If two or more writers were stuck in an elevator, as soon as they pushed the emergency button and knew help was on the way, the talk would turn to publishers. Sometimes you'd think that there was a prize for the writer who's had the worst publisher. And if there were such a contest, I just might be a contender. I've had several publishers over the years. In fact, with my latest book, Mockingbird in the Moonlight , I had two publishers.
My first five books were published by a small university press. They were nice folks and we had a very cordial relationship. However, when I finished my first murder mystery in 2005, I knew I'd have to go elsewhere. University presses don't publish trade fiction. Since it's nearly impossible to get to the big publishing companies without an agent, I concentrated on regional presses. And in a very short time, I got lucky - or so I thought.
Publisher X - I know it's not an original name, but at least it's not libelous - read the manuscript and agreed to bring out my book the following March. They soon sent me a contract. I was so pleased that my first impulse was to sign it immediately and send it back by return mail.
Instead, with the Authors Guild's Model Trade Book Contract and Guide at my elbow , I went over the contract line by line - and discovered several items that the G uide warned against. Publisher X, expected me to grant them all print rights, including foreign sales, along with 50% of any electronic or film rights. The Guide was adamantly opposed to such a thing, but I really wanted the book to be published. Besides, Hollywood wasn't waiting to buy it, so what did it matter? Publisher X also demanded first refusal on my next book. The Guide declared that, too would be a big mistake, but I was certain that the first mystery would be a great success. Why not let Publisher X have the next one, too?
Okay, none of my earlier contracts had these clauses and a reasonable person wouldn't have ignored all those red flags, but I've always been way too optimistic. I signed the contract and sent it back. Believing the book would be out when they'd promised, I began setting up promotional events around my home in middle Georgia. I lined up appearances on television and radio shows, numerous book signings and even planned a release party.
My excitement grew as the months passed, but so did a vague sense of misgiving. In the past, my publisher had always kept me in the loop. But the only time I talked with anyone at Publisher X was when I called to advise them of the signings and promotions I was arranging. I kept waiting for my first proof pages to see what my editor wanted to change and to begin the long process of making any corrections that were necessary. Although they assured me everything was on schedule, I never saw a proof or even spoke with an editor.
Then in late November, they sent me a curt email advising that they'd have to go ahead and send the book to the printer without any jacket blurbs! I knew I was supposed to arrange for the blurbs, but, I explained to them, I'd been waiting for a final proof to send to those people who'd agreed to write the blurbs. I was told I should have already sent out copies of my manuscript and had the blurbs in hand.
And speaking of proofs, I asked when I'd be seeing one. Their answer was quite a surprise. There was no need, they told me, for me to see a proof. Several people there had already looked at the book and they thought it was "okay". And since I'd failed to do what I was supposed to, there wouldn't be any blurbs on the book jacket.
After that, things went from bad to worse. I wrote a letter enumerating my concerns and they countered by postponing publication for a year. After a few more letters were exchanged, I asked to be released from the contract. I thank God every day that they agreed.
But, of course, then I was back at square one. After wallowing in self-pity for a while, I pulled myself together and looked for another publisher. This time I really did get lucky. I found Indigo Publishing right here in Macon, Georgia. They offered me a very fair contract and have been wonderfully tolerant of my new paranoid attitude. Unlike Publisher X, everyone at Indigo talks to me. They call. They email. They keep me posted on every move that's made and actively seek my input. They've done everything they said they would and more. In fact, I've finally had to stop telling my writer friends about how terrific it is to work with Indigo because I can't take any more of their envious pouting.
My advice is be careful and be patient. For every writer like me who finds an honest, caring publisher, there are many more that don't. As hard as it is, listen to your own common sense when dealing with a publisher. We all want to get our work out there, but there are worse things than not being published. And, like my mother always told me, if it feels wrong, it probably is.
Jaclyn Weldon White's new mystery novel is Mockingbird in the Moonlight , Indigo Publishing - 2007. She is also the author of five previously published books, including Whisper to the Black Candle - Murder, Voodoo and the Case of Anjette Lyles , Mercer Press - 1999. She and her husband live in Macon, Georgia. For more information, please visit www.jaclynweldonwhite.com.
