Odd things going on today in my head. Some of that has to do with Book Six (why oh why did I think I could write a sixth novel in this series? and why did nobody STOP me from signing the contract?); some of it has to do with the trade paperback release of Tied to the Tracks
and the sinking feeling I’ve got that there will be no marketing for this book other than what I can cobble together in my amateurish way. Which is not unexpected — every other midlist author out there is in the same boat — but it’s still discouraging.
When Homestead came out in hardcover with a teeny tiny little press, I fully expected it to sink quietly into oblivion. A novel in an unusual format about women in rural Austria a hundred years ago, doom and gloom on every page… no surprise if it didn’t even make a blip on the radar. I was still proud of it, but I didn’t have any expectations.
But in the odd way the universe has of screwing with expectations, Homestead won the PEN/Hemingway Award and was shortlisted for the Orange Prize. I found myself flying places to talk about it. I was standing near Margaret Atwood at the Orange Prize ceremony because we both had books shortlisted. Never, ever would I have imagined such a thing happening when Homestead sold to Delphinium Press.
There was no marketing budget for Homestead. Somehow it was in the right place at the right time, the indies took it under wing, and it began to roll downhill.
A lot more energy was put into Into the Wilderness by Bantam, and it did better than I expected. It is still in print. I don’t know about the sales figures because I just refuse to look at them. I know my own weaknesses, and obsessing about numbers I can’t control is a big one. I do know one thing: it paid out the advance. I don’t know if that’s true for the other books in the series.
I think it’s fair to say that I’m standing at a kind of crossroads in my career as a novelist. Pajama Girls is in production; I’m working on Book Six. Beyond that I have no contracts. Nor am I actively looking for any at this point, because on paper I don’t look like a great bet. TTTT did modestly in hardcover. If it does better in trade paper (please dog), and if Pajama Girls does well, at that point I’d have some bargaining power — or better said, my agent would.
At this moment it could go either way. In a year’s time I might be looking at going back to the traditional workforce and writing in my spare time.
Please note: THIS IS NOT A COMPLAINT.
If you look back at the early entries in the original weblog you’ll see that I have always been keenly aware that this ride could end before I was ready to get off. I’m doing what I can to promote the work so that it has a chance of finding a readership, but there are hundreds of novelists out there doing the exact same things I am. Some of them have written better novels, or novels with a more popular theme. Some of them will do something in terms of marketing that goes viral, and then the lack of publisher support won’t be as important.
At the end of the day, I can look at the novels I’ve got out there and be satisfied. Some of them I like more than others, but I’m proud of all of them. Maybe things will start to roll and ten years from now I’ll still be going strong. Maybe not. In either case, I have no regrets.