#not draws

I’m using photoshop and all I did was draw/colour in greyscale. Just to get a nice base for the tones and values. I also added a neutral grey layer and filled it with noise then set it to soft light to set the film grainy look (and bc I love texture. It will hide a multitude of sins. Trust.)

Then I add the whites and glowies. You know. For fun.

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Then here’s where the magic happens. All I did was mess with a nifty lil feature called Gradient Maps! You can find it in the “new adjustment layer” drop down.

I clipped it to the folder that contained the boys and set it to 50% opacity on soft light mode.

And this is how it looks!

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Then I turned the background on (I used the actual screencap from the video that I was using as colour reference and blurred it bc uhhh. I hate drawing backgrounds)

Now we’re getting somewhere! But it’s still not as uniform as I want it to be so I went and corrected the contrast/brightness then slapped ANOTHER gradient map over the whole image (I used this one)

And bada bing bada boom ya gots ya self some night vision!

I drafted the manuscript from February - October 2013.

It was a difficult-to-classify genre. Science Fantasy? Future Fantasy? If a bookseller doesn’t know where to put your book, they won’t make a whole new shelf just for you. (Note: this seems to be on the verge of shifting, but I wouldn’t bank on it for your debut.)

It was 152,000 words long. The industry standard for YA SFF (SciFi+Fantasy) is 100,000 words or less. Exceptions are rare and usually extended to established authors who have proven their marketability.

I revised November-January 2014

I had no critique partners. Sure, you can be your own worst critic, but you absolutely need another perspective.

I made no substantial changes. Removing an apostrophe didn’t fix a sloppy plot.

I began querying literary agents toward the end of Jan 2014 and revised based on the feedback I got

I queried without doing much research into industry standards, comp titles, etc. I just googled “how to sell a book” and went to town.

I submitted the manuscript to Pitch Wars in 2014, and then again in 2015, and made it in for 2015, revising September-October, and pitching in November.

Pitch Wars was actually great! I made a lot of friends who I still speak to today. That said, it was a big risk to enter a story that hadn’t made it in the previous year, because most of the mentors had passed on it a year earlier.

Around mid-March 2016, I sent the last query for that novel, and focused my undivided attention on another WIP.

CUE SIRENS, AIRHORNS, SKYWRITERS THAT SPELL OUT “THIS WAS THE SMART CHOICE”

At this point, I had spent two years trying to query a manuscript that wasn’t gonna make it. It was hard, and heartbreaking, because at that point I had poured everything I had into that story, and because it wasn’t enough, I didn’t feel like I was enough. I felt like Sisyphus pushing a big lousy rock up a hill, telling myself it was my fault it kept rolling to the bottom. But I loved that lousy rock! I didn’t want to walk away and find a different rock I could push up a hill, I wanted that rock. It took two years of pushing before I finally realized: it’s a rock. Without me, it’s not going anywhere. And I could come back when I was ready.

(I was also dealing with some major life events at the time - my mother had just been diagnosed with stage 2 breast cancer, and my miserable job was in a downward spiral. IT WAS A GREAT MENTAL SPACE ALL AROUND. But my mom is cancer-free now, and I write for a living, so suck it cancer! Suck it, shitty job!)

What I didn’t realize until much later is that when you spend two years pushing a boulder uphill? You get shredded like Kylo Ren.

All those failures, all those mistakes I’d learned from, had made me a better writer. (It also made me a slower drafter because I was waaaay more critical of my own writing, but eh. I could draft slower because the end product needed less revision.)

So here’s how things went down with my second manuscript:

I drafted the manuscript off-and-on from January - July 2015, then exclusively from March - December 2016

I revised January and February 2017 (when I wasn’t, y’know, wallowing in existential horror in the orange mold infestation in the White House)

I was accepted into Pitch Madness, a contest which asked for a VERY short pitch (35 words or less) and the first 250 words of the manuscript; this was in early March 2017.

The response from agents in the contest was positive enough that I sent queries out to the rest of the agents on my priority list

I signed with my fabulous agent in mid-April 2017

My book sold in late June 2017

Said book will be released in just over four months from now. :)

So let’s review: 

Manuscript one: eight months drafting, two years querying, no agent, no deal

Manuscript two: ~1.5 year drafting, one month querying, sold two months after signing with my agent

Yeah, I’d say I learned a thing or two.

As far as things go once you’ve sold to a publisher, everyone’s timeline is SUPER different: 

Sometimes your editor has minimal notes, but you don’t get them for months. 

Sometimes you get a ton of notes even BEFORE you sign your contract. 

Sometimes your book may be in pristine shape, but the release schedule is super crowded, so it won’t be out until there’s an opening in a year; or the reverse, your book is super buzzy and gets fast-tracked and has to be ready on a SUPER FAST schedule. 

Sometimes your editor moves to a different publisher, and you get assigned to a new editor. 

All of these have happened for authors I know. It’s basically Calvinball, there is no norm. (Fun fact: this is also part of why every author yells “DON’T QUIT YOUR DAY JOB FOR THE LOVE OF GOD” but that’s another post.)

One other note for this: if you’re interested in publishing with a mid-to-major publisher, you need an agent. Publishing contracts are notoriously full of potential pitfalls - for example, I can think of at least one major publisher that has language in their default contract that says the contract can be terminated if the author “flauts public convention.” And there are other, less flagrantly terrible parts of the contract that can still screw you over if they aren’t caught, and things that can still get weird outside of contracts that your agent can help you navigate, and basically your agent is there to make sure you’re all getting the best deal possible.