A Conversation with Vicki Hinze

By Jeanne Vincent

Best-selling author Vicki Hinze says she was "self-indulgent" when she started writing, completing fifteen novels that didn't fit in any established genre. "I wrote exactly what I wanted to write with no thought to marketing or genre, or where a book would fit on a bookstore bookshelf." Then she decided that if she wanted to sell what she wrote, she needed to study the markets." Once I made that shift in my thinking, and did my marketing homework, my situation changed," she said.

The rest, as they say, is history. Vicki's first published novel was a best-seller. She has written for Bantam, Dell Publishing Group, St. Martin's Press, as well as Silhouette, Pinnacle, and Spilled Candy Books. She has two nonfiction books published, both of them for writers. Vicki has written hundreds of nonfiction articles on writing, many of which are available in her online library at her website (www.vickihinze.com).

What would you tell new writers about how to find a publisher?

Read books that are compatible with the book you're writing. You'll see one publisher emerge where your book seems to fit. Not exactly like the ones being published, but in that vein, tone, style, elemental content. Every publisher has its own flavor, if you will. Your job is to match your work with that perfect-for-you publisher. You do that one way-- and only one way: by reading the works that the publisher publishes.

You've written for several different publishers over the years. How did you decide that you wanted or needed a different publisher?

I've basically written different types of books for different publishers. Early on, I was at a writers' conference and two editors I admire very much, Jennifer Enderlin and Audrey LaFehr, were sitting on a panel. During the course of the workshop, we discussed changing the types of novels one writes with a publishing house and the special challenges it creates. Everyone on the publishing team tends to classify a writer. He does this. She does that. So when you change what you do, it can be difficult for everyone to remember the shifts. This probably isn't a challenge if you're Nora Roberts/J.D. Robb, but if you're anyone else, it can create challenges.

I like having different publishers for different types of books. It makes it easy for the publishing professionals to keep straight on who you are, and for you to keep straight on what you're doing. That said, I do believe there is a loyalty factor and it deserves its due. A publisher invests to publish you. You don't just cut and run. There's a trust that should bind you, and it should be respected.

What would you tell other authors who might want to change publishers?

It would depend on the reason they wanted to change publishers. Too often, I see authors who say things like they can get more money at XYZ publishing. They sever ties with their existing publisher and they run to XYZ only to find that they forgot to consider a few things. Like the value of having their backlist at the same house as their front list-- a coordinated publishing program and schedule. Like the element of trust that has developed between the editor and author, which should not be taken for granted.

For example, when you first work with an editor, you must prove that you know what you're doing and you understand how your writing process works. If you put "I don't know what happens here, but it'll work" in a synopsis, odds are not good it's going to be approved. But if you've done five projects with the editor and you say that same thing, she's far more apt to say "Okay, no problem. Press on." Why? Because she has come to know you and your writing process, too. And knowing how your mind works and your work ethic is something that is built with time and over projects.

I'm not an amazing advocate of changing houses. I believe that if the relationship is productive and constructive and both the author and the editor/publisher are committed to producing the best book possible, working fairly and being honest with each other, then why move? Staying put is more advantageous to everyone involved.

But there are times when things are not working. When commitment fades, circumstances change, and a move is required to avoid becoming stagnant. When that happens, then there's no choice but to change houses. This is, after all, your career and your business. It's your life.

One thing I have to say, because it just comes up too often not to say: If you do decide to change houses, retain dignity and grace and act in an ethical manner. Not just because this is a global industry, but a small, tight-knit one, but because it's the right thing to do.

What would you tell other writers about how to obtain an agent and how to work with one?

I would say be very careful to align yourself with the right agent for you. Writers aren't one-size fits all and agents aren't either. We both have preferences, methods of working that are great for us, specific ideas on what works best for us, and how we go about our work.

Some writers want to know everything an agent does for them. Others would rather have nails driven through their hands than be bothered with all that. Some agents have a very set work pattern and don't want to work any other way. If that pattern coincides with yours, then you, the writer, are in good shape. If not, well, you need a different agent.

Writers tend to think the best agent for them is the mega-agent whose name inspired awe in the hearts of writers and editors. While that might be true, the agent might be the most awful agent on the planet for you.

It's not a marriage. It's a business relationship. But you need to view this relationship as a partnership, and you should have all the confidence and respect and trust in your partner required for the relationship to be successful. You merge your efforts, your strengths and weaknesses. You merge your faith in the work, the process, and each other. That means you really have to have that connection or bond that enables you to work together as a cohesive unit. Without it, neither of you can succeed.

Many writers fear their agents. Frankly, I just can't imagine trying to work under those conditions. I don't care how fabulous an agent is, if you're not comfortable, it's time to get comfortable or move. Partnerships require two partners, both working equally hard to achieve a common goal. That means commitment to excellence-- and no fear.

What are some of the best tips you've learned from editors and agents?

One of the wisest bits of knowledge was in understanding your readers. They want the same kind of book only different. Which means, the higher up the ladder you go, the less able you are to experiment with different types of books without upsetting your readers. Writing the same type of books consistently is a wise way to go about building a career. The significant thing is to know that, and then write the books you can't stand the idea of not writing. An editor once said she knows when someone is writing a book for the money because their heart isn't in it. Judging contests and doing critiques, I discovered she was absolutely right-- and I vowed never to write a book I didn't love.

An agent has a reach that extends far beyond that of a single author, and as such, gains a different perspective (on the industry and the market) that can be extremely helpful. The agent also brings objectivity to the table, and the value of that should never be underestimated. Often the agent also has a better sense of the author's worth than does the author. There are a million insights and little tidbits an agent knows and relates as part of the ongoing process. Those things might be about the market, about the work, about a trend, about distribution or any of dozens of other things.

What self-promotion tools and/or activities have you used? What works best for you?

I've used just about everything out there at one time or another, including video interviews on my website, DVD book-shorts (like a movie trailer), and CD interviews. I've done different promotional pieces and distributed them-- chapter excerpts, T-shirts, mouse pads, and a variety of other items. I also do contests, giveaways, mailings, and things of that nature.

Once, for a series I co-created, I commissioned a stained-glass artist to make 100 original sun catchers that were about a foot in diameter. Each had a yellow carnation that was significant through the series. I had the series title and my name etched into the glass and gave them to key booksellers and industry professionals who'd been good to me. Another time, I sent pink metal ribbon lapel pins to all the female sales reps and key booksellers during breast cancer awareness month-- because they are more than the women who sell my books.

I try to do things that are functional. I hate wasting money on things that get trashed. So as well as raising awareness about my book, I want a product/program/campaign to offer a dual duty function.

Best overall, I'd have to say getting copies of the books into booksellers and/or reading groups' hands. Word of mouth is still our best asset.

What would you tell other writers about doing self-promotion?

I think it's very important to keep it real and not get sucked into spending every dime promoting a book. Take off your "I want everyone to know about this" hat and put on your "I'm a realistic businessperson" hat.

Decide on a reasonable amount of money to spend. Many I know use ten percent of the anticipated income. Set that as a budget. Stick to your budget.

Decide what you want the promotion to do. Who are you targeting and why? And is this the most effective means for doing so? Pay attention to what produces the results you want and what doesn't. Soon you'll develop a method for connecting with your readers, your key booksellers, your key pros that is cost-effective and productive.

Would you explain the phrases "reading like a writer" and "writing like a reader"?

Reading like a writer means you pay attention to things like plot structure, sequencing, character development or arcs, the escalation of stakes and risks, chapter hooks, and character consistency.

Readers don't look at those things, though if they aren't well done, they will often say things like, "I just couldn't get into that book. I didn't like the characters. It didn't make sense."

When you read like a writer, you note goals, motivations, conflicts, scene settings, and tone. You make sure the reader has the emotional reaction to the scene and the characters in it that you, the writer, want the reader to have. You are aware, specific, and manipulative.

Writing like a reader, I would define as a writer who pays express attention to anticipating what the reader wants to see/experience next and then giving it to them. Not focusing so much on specific structure, but on content and reader expectation/satisfaction.

What advice do you have for new writers?

Write only stories you love. Your investment infuses the work with its magic.

Don't submit until you know the work is absolutely the best you're capable of creating at this time.

Trust the process-- your gift works your way, and your way is the right way. The path isn't significant. No one travels it but you. And regardless of whether you walk, crawl, or cartwheel your way through it, when you get done, you've got a book. It stands or falls on its own.

Do not compare yourself to other writers. The world has them. It doesn't have you-- your unique perspective, your unique personality.

Write the way you think. Not the way you talk, but the way you think. Shed the filters and write from the gut. It's raw and honest and that comes through in the work.

Keep faith in your work and in yourself. A rejection means nothing-- or less. Could have nothing to do with the work. Could be market conditions, or the publisher balancing its list. Don't assume something is wrong with you or your work.

If you read the following, you can ignore all the above advice: If you want to write, you will. Everything else is just stuff.

If you love writing, you'll do it-- no matter what.

Jeanne Vincent has a varied communications background, including experience in print and broadcast journalism, public relations, and freelance writing. She is currently at work on a suspense novel. Visit her website www.jeannevincent.com.

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