I think the biggest thing I’ve learned about this business is that there is no “the one.” There’s no One Book. There’s no One Deal. There’s no One Agent. Essentially, there is no sovereign specific. I could go with a metaphor about eggs in baskets, etc, but I’d rather just say this: publishing is a rapidly-changing landscape. You have to be adaptable. You have to roll with rejections, and you have to get back up when the business doesn’t pull its punches. […]
There’s this common joke in publishing circles of the ten year overnight success. Like I said above, there isn’t a The One. No one thing will make you a success. I’d also challenge that those “overnight” success stories are probably not really overnight at all. Nobody waves a hand at a keyboard and poofs a book into existence, and there is no, “Like a good neighbor, IMPRINT is there!” to make an editor magically appear next to you with a contract in hand. […]
If you want to do words as a career, it takes time. It takes that and a lot of effort. There aren’t shortcuts for reading widely in your genre (or in general). You don’t have to reinvent the wheel — I love craft books for learning foundational things like structure — but even learning things on an intellectual level necessitates practice to make them work for you. That said, I’m ten years in and only this year has it begun to look like I could do this full time and pay my bills this way. It’s a long con, and there are setbacks and obstacles at every stage. Getting an agent doesn’t make everything into the dance-y, pre-gasoline fight incident scene in Zoolander.(There might still be freak gasoline fight incidents.) Getting published doesn’t even guarantee your books will be on shelves a year later. […]
It’s been said about just about every art form, but if you can be fulfilled and happy doing anything else, for Hades’ sake, do that instead.
–Emmie Mears on the long con.