![]() Now I am on someone else’s schedule, and the process involves a lot of people. Before, when I was still looking for an agent and a publisher, I was working on my own schedule. ![]() ![]() Then you have to keep turning in manuscripts, do developmental edits, be available for side projects and interviews and fan mail, and so on. The biggest revelation was that landing an agent and a book deal isn’t the finish line, it’s just the starting line. My agent, the hyper-capable Evan Gregory with the Ethan Ellenberg Literary Agency, guided me through the process and made sure I don’t sell my stuff for the royalty equivalent of a handful of inert magic beans. Marko: I knew practically nothing about publishing when TERMS came out. TQ: What do you wish that you knew about book publishing when Terms of Enlistment came out that you know now? The only difference between the processes for Terms of Enlistment and Chains of Command is the medium-I wrote the first draft of Terms mostly in longhand, but because of the time constraints of the series, I write my first drafts mostly on the computer now. It’s a sort of pantser/plotter hybrid method that works well for me. ![]() ![]() Marko: Thank you! My writing process is still largely the same-I work off a chapter outline that hits all the major plot points, but leaves me some elbow room along the way. Has your writing process changed (or not) from when you wrote Terms of Enlistment (Frontlines 1) to now? Your new novel, Chains of Command (Frontlines 4), was published on April 19th. ![]()
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