by Les Anderson

A. T. Miller, author of Exordium of the Faerie: Io's Exodus, responds to CP's questions about his experiences on the road to publication, and what's next on this author's agenda.

When did you decide to become a writer?

A T Miller: When I finished reading J. R. R. Tolkien's "The Hobbit," I knew I wanted to write, when I first wrote a poem that made someone cry I knew writing had a unique and potent ability to move others.

Where do you get the ideas for your writing?

A T Miller: These come mostly from brief flickers of creative imagery, "what if's" I encounter in daily life, although all have certain voluntary and involuntary sources.

Although it's considered taboo, are you ever tempted to create yourself in one of your characters?

A T Miller: I don't know that it's as much a taboo to insert yourself into prose as you suggest. Tolkien did it with Tom Bombadil in "The Lord of the Rings." Others have been known to do it, but I think you still have to remain objective. It's a matter of how you handle it. Once created, you have to be able to cut the ties and let that character live or die by the mechanics of the story realm. If you cannot do that, you had better not make the attempt. Still, every character you invent is "you" in a way, so to say that you are not in your story is a misnomer.

As a creator of literary works, do you consider yourself an artist?

A T Miller: Absolutely, but I think that writing is a strange animal. It is a hybrid between art, craft, and trade. You must be skilled in all three to achieve even a modest standing in the professional world. You have to access the airy, emotional side of yourself, live in the moment and be willing to let it take you to places you never thought you would go. You have to know what to make of that which you see during these moments, how to reconstruct the visions into acceptable forms; words, sentences, paragraphs, and make them intelligible. Finally, you have to understand the world around, and where in it your writing fits. You must be able to sever the cord, chop up the merchandise and sell it.

Did you acquire an agent to submit your work to a publisher?

A T Miller: No. I pitched an idea in three sentences. I had already written the story, so all I needed was a person to believe it in. It only takes one.

Did you make simultaneous submissions of your work?

A T Miller: No. I explored publishers online, and the first one I hit, I made my pitch. I got an answer within 24 hours. These results are not typical, but then, my publisher is not a very large press.

How many rejection letters did you receive before a publisher accepted your work?

A T Miller: With "Exordium of the Faerie: Io's Exodus," I had three rejections before acceptance. It was originally written for L. Ron Hubbard's "Writers of the Future" contest, but the judges passed on it. After a bit of editing, I submitted it to a magazine and a mainstream publisher, both with editors who took their time to write very nice "thanks, but no," responses. I was grateful, mind, because I know that even that was more than most people get in rejection letters. Always take rejection in stride. Rejection is a badge of honor.

Obviously, the rejection letters did not deter you. How did you handle the rejections internally?

A T Miller: Rite of passage. All writers get rejection letters. It is the nature of the business. Writers must have thick skin. If you cannot process rejection, you should probably just blog or join an online writing community to have your voice heard. If you are looking for universal acceptance, you will never be happy.

Rejection is bitter, but it can be sweet, too, if you give a piece of writing your best effort and some practical research of editors and/or agents.

Were you asked to change anything about your work as a condition of acceptance?

A T Miller: Yes. First, you understand that, though your work is mainly yours intellectually, it is also "theirs." The publisher has the last word on language, especially if there's something they consider vulgar, or if the editing in parts is not up to snuff. Personally, I was not asked to modify the work, but to modify my value as per the cover art, etc., which I felt could have used a lot more work. Of course, that is also the nature of the business; you have no say over this unless you carry some weight in publishing, like Stephen King.

Were you asked to change anything that you were dead-set against changing?

A T Miller: No. I would have been flexible to an extent, but if they asked me to do something dramatic like change the sex of my protagonist, Io, I would have offered a polite, "no, thank you," and been on my way. That would have compromised the very essence of the story. I feel the publisher has just as much an interest in seeing the work sell to a wide audience as does the author. It is in their best interest to ensure a work of marketable quality reaches the bookseller.

Did you negotiate around this?

A T Miller: Major negotiations do not usually take place after a contract is signed, and that takes place before the publisher even examines the work on an editing level. If there is a clause in the contract that allows for author input in the editing process, then kudos. That is the arena of the agent; however, and most unrepresented authors do not even know to ask. If you cannot acquire an agent, but a publisher is interested in your work, be proactive. Ask other authors, or assert your will to the publisher's representative.

Once accepted, how much time elapsed until your book hit the shelves?

A T Miller: "Exordium of the Faerie: Io's Exodus" took approximately one year from the initial pitch to its final publication. It was actually available online at Barnes and Noble before the publisher's release date. This varies with publishers. Old school houses can take up to two years, but that is a mode that is bound to change soon, especially with all the Print-On-Demand publishing groups out there.

Was the road from inception to publication what you expected?

A T Miller: Nothing is as you expect, unless you are very intuitive. I expected a little, and got a little more. My book is selling. That is a plus. I worked hard to make it readable. I think it has unique characters and plot, it is relevant in our modern world, and will appeal to a wide audience. I wrote Io's story while evacuated from my home town during Hurricane Katrina, a tale about hope even in despair, about making tough choices, and about the importance of relationships. It helped me to cope with my life's difficulties, and I think others in similar situations would find it inspiring.

Was it hard? Sure. Letting the manuscript go, watching others shape and mold it into something professional and marketable was strange. It was like giving up a child, watching others teach him etiquette and grooming techniques, and then sending him out into the world with a briefcase in hand to sell himself. You want to clutch him tightly, but you know you have to let him go. It is better for him, and for you.

Did your contract with your publisher include future books?

A T Miller: Not unless the first one sells like hot cakes. Most publishers do not want to hear about that next book, that trilogy pinging on this first novel. They want to know that you are a valuable commodity. That sounds crude, but they are taking a terrible risk with every new author. Whether or not you can bring the goods is one immaterial. They have plenty of goods, millions of raw manuscripts, in fact. What they need is an author whose work finds an audience receptive to their voice and talent. Bottom line, there have to be sales. Each sequential publication has its own negotiation.

Did you receive an advance?

A T Miller: Yes, but it was negligible. What I was concerned with was that the book was out there. It is of good quality printing, and that is what counts. Be careful with advances, because if your work does not sell, or if it sells and gets returned, or if the publisher cuts it from the budget entirely, you may have to pay it back. Better you just say, "thanks, but let's see where it goes." Whatever you do, do not quit your day job!

Did the advance meet your expectations?

A T Miller: No. They do not usually meet what authors believe their literary children are worth. You have to remember that most publishers will give advances based on what they can get for your work. This does not always work out the way we want them to, so it is best to take this with a grain of salt.

Of all the things you didn't know, what was the biggest revelation to you about the publishing process?

A T Miller: Thick skin is not just for rejection letters. It is also for bull-headed cover artists, apathetic author relations reps, for sales figures posted online, and finally for that first royalty check that is just big enough to add a super-size to the value meal at your favorite fast food restaurant. Just because a work is out there does not mean it will sell. Sell yourself! You are your own biggest asset in the game of sales.

What was your most pleasant surprise on the road to publication?

A T Miller: The feel of your first published work in your sweaty palms is inebriating. Looking at your own words packaged in a neat and tidy binding with a professional style and an ISBN makes you feel legitimate, makes the drive seem justified. That you have some standing, however small, upon which to build, is no small boost to confidence. This does not make a career, but it gives you an opportunity to prove that you have what it takes to establish one.

What was your biggest setback?

A T Miller: Writing the next story while dreaming up ways to advertise your last, is a chore. You have to explore many options, be out-going with those who can help you get your name out into the mainstream. You should get some internet savvy, or find someone who does, and really impress readers with a well-designed author website. Make fliers, give out free copies, talk with radio people, whatever is available.

For the person hoping to be published, is there a single piece of advice you would like to pass on?

A T Miller: To say that one pearl of wisdom is more important than another is to say that breathing is more important than having a heartbeat, that heartbeat is more important than having brain activity. They are all of equal importance. First, develop thick skin. Look in the mirror and call yourself all manner of derogatory names. Find your worst weak points in writing and skewer yourself with them. Get used to it, because you are not the only one who will be doing it. Another pearl is to work on your craft. If you are not a strong writer, get out your grammar guide. Make it your bible. Third, find yourself. Find your voice, something original, and build upon that. You must write from what you know, and in your own way. That is what makes a good writer and a good work.

Any comments on self-publishing?

A T Miller: Self-publishing can have positive and negative results for the author. For one, it is pricey. You basically rent the printing house to sell your books, and then you have to sell your work for prices that are far higher than what other houses can sell better-known authors in the same genre. Many publishers will consider the self-published hackneyed, and will believe that the author could not be published elsewhere based not on opportunity, but on talent and quality.

What self-publishing does, however, is give an author a chance to be seen. If one book is fine, then so be it. Even if your goal is a professional novelist career, having two or three self-published novels out there will improve your chances, provided your prose is tight and your story is worth paying four times the industry standard. Just be sure to do your research, and pick a legitimate self-publisher, not someone who will trash your publication rights and turn what would otherwise be a fine piece of writing into an unsellable monstrosity.

What does the future hold for A T Miller, the author?

A T Miller: I am currently working on a new manuscript, but I am not ready to submit queries to publishers. I will not give first preference to my current publisher, but I would if I found a publisher with which I was more compatible as an author. Mine is fine, you understand, but I feel like I could do and be more if given the opportunity. I am no "one-hit-wonder."