Why timing is everything in traditional publishing...
And the blurb reveal for my new book When She Was Gone (Writing Journal #5)
At the beginning of the year my new novel, When She Was Gone, was scheduled to come out in September 2024, but everyone was worried. We were all feeling rushed through the process, my US publishers were concerned about not having enough time to build their campaign, and my agent had also looked at the September publication list in Australia and realised my book would be going out alongside new novels by some stellar bestselling authors (Liane Moriarty for one!), making it so much harder to get decent shelf space and promotion. And while I already have a reader following in Australia, it’s my first book in over three years, and when there’s been that much time between novels you can’t build publicity and momentum off the back of your last release, you have to start afresh.
It’s often a surprise to people (and it can be a frustration for writers) that in traditional publishing our books take such a long time to reach the shelves – but there are lots of reasons for this. First of all, the editing process is lengthy and exacting to make sure that by the time our books are released they are the absolute best they can be. Secondly, there’s the long process of sales momentum as the sales team go out to the stores and pitch each title to booksellers, get early reading copies to people, and build momentum pre-release. It’s very hard to successfully publish a book from a standing start: by the time it hits the shelves you want as many people as possible to be actively looking for it. Most books will only get a ‘new release’ pole position in the bricks-and-mortar stores (or on the home pages of online bookstores) for a few weeks - and even then, the book needs to be chosen for these coveted spots - after which the next round of new books will come along, vying for those spaces.
Writers often feel frustrated at this lengthy process – and it might not be necessary for all books. However, while you’ll often see me advocating strongly for different publishing opportunities for authors, let me defend the traditional side of the business for a moment – because while there are some tricky issues in this business, there are some great reasons why I love traditional publishing too. For one, you get to work with the best of the best, because everyone who works in trad publishing is passionate about books and stories. The editors and publishers are so invested in my books that they sometimes remember the plot or character details better than I do, and the story analysis and concept development that goes on in editorial meetings is one of my favourite parts of the whole process. This continues right along the production line with the cover designers, publicity people, sales reps, etc. – and a special shout-out to the editorial assistants, because this was once me, and it was definitely for love and not for money that I took the job! And after this, we reach a whole new set of passionate people: those who run the bookstores, who are all so knowledgeable, and who each have their unique way of celebrating books and bringing them to readers.
I also love the history and culture of publishing in this way – because bookshops and paper books have endured for so long. I have books in my home with my grandparents’ handwriting inside, alongside the annotated price in shillings. And I love that the first book I ever proofread when I worked for HarperCollins was an Agatha Christie, and now I’m publishing my own mysteries with the same publisher. So although I don’t want to get stuck in tradition for its own sake, there is something very special and connective about being part of a long lineage of authors and booklovers.
Having trust in the process and the people you work with is so important, and I’m very lucky to have a team around me who all have their eye on what’s best for my books. So we’ve decided to push When She Was Gone to April 2025, in order to give the book the best possible chance of flying. There’s a certain alchemy to the timing of publication – and while we can’t predict every aspect of it (alas, think of all those first novels published during Covid), we must do everything we can to make sure the book meets the market at a moment of maximum opportunity. If we achieve this, and the book is top quality, the rest relies on a little bit of good fortune: but the right strategy can go a long way in making your own luck.
So now I have more time to do some refining and editing (which I’m working on right now), and a longer lead-up time to get everyone excited about reading this story. It certainly doesn’t mean we’re resting on our laurels, and I’ve already seen a beautiful cover concept, which I can’t wait to reveal later this year. We’ve been busy refining the blurb for the book, too – and I’m delighted to share this today. Here’s the story that will be coming to stores in April 2025:
Rose once walked away from her daughter.
Now, is she the only one who can save her?
Former London police officer Rose Campbell has been estranged from her daughter, Lou, for almost a decade. But when Lou disappears from a remote Western Australian beach, and the police suspect her of kidnapping the two young children in her care, Rose is asked to help bring Lou home. The police think Rose’s insights will lead them to Lou, but they don’t realise that Rose hardly knows her daughter any more.
This is the final case in DSS Mal Blackwood’s illustrious career, and there’s a lot riding on it. The missing children are heirs to the Fisher property empire, and while their multimillionaire grandfather is breathing down Blackwood’s neck for results, the media storm is intensifying. Faced with a deluge of evidence and accusations, Blackwood doesn’t know who he can trust.
Rose arrives in Australia intent on proving her daughter’s innocence, but how can she be sure of that when she’s no longer part of Lou’s life? Meanwhile, as Blackwood begins to expose the Fishers’ secrets, the investigation takes a much darker turn. Shadows of the past gather around the Fishers and Rose, and soon it’s clear that every hour is critical. What has happened to Lou and the children? And can Rose and Blackwood find them in time?
I hope you’re intrigued and excited for this one - and I can’t wait to tell you lots more about Rose and Lou and Blackwood and all the reasons I love this story! It wasn’t an easy decision to wait another eight months to bring it into the world, but I’m very grateful to have so many people supporting this book, thinking carefully about timing, and working hard to give it the very best chance of success.
I’d say I can’t wait for this book to be released but I guess I’ll just have to!
What an intriguing premise, Sara! It must have been a tough decision to push back the release date but it sounds like it will give your book the best opportunity to make a splash. I am realising just how much goes on behind the scenes with a publisher and how they have the best interests of the author at heart.
My book comes out in October which feels like such a long time away.. and yet not long enough!