Making Her Own Good Fortune: How Marie Carter's Love of Writing & NYC Brought Her Book Publishing Success

For my latest author Q&A, I'm delighted to feature Marie Carter, a good friend whose publishing journey I've followed for over fifteen years. Marie's publications include a memoir with a small press, a self-published novel, and most recently, a nonfiction book. Learn about Marie's different publishing experiences and how her "very targeted approach" to querying quickly landed her an agent for her book Mortimer and the Witches, which released in March from Fordham University Press.

When we first crossed paths in 2008, you had just published your first book, a memoir titled The Trapeze Diaries, with the independent publisher Hanging Loose Press. Could you tell us about your memoir and your experiences working with Hanging Loose?

This book was based on my experiences learning trapeze and how that helped me process grief after my father died of a sudden heart attack and I moved to New York City as a young immigrant from Scotland. I was working with Hanging Loose Press in an editorial capacity at the time, and although Hanging Loose is primarily a poetry publisher, I submitted the book to them because I felt it had a lyrical feel. Initially, they passed on the book, but said they would reconsider if I developed certain aspects of it. Fortunately, I was awarded a residency at MacDowell shortly after. That gave me the time and space to make the revisions the publisher wanted. The book was accepted for publication the second time around.

In 2018, you self-published a novel, Holly's Hurricane, your ode to New York City  and a finalist for the Montaigne Medal.  What inspired you to write fiction, and to self-publish rather than stay with Hanging Loose or approach another small publisher?

The idea for Holly’s Hurricane—a historical novel set in the future—was a little out there and would only work as fiction. Hanging Loose rarely publishes novels, so I didn’t feel this book was right for them. The market is tough for fiction, and I didn’t want to have to spend a lot of time and energy submitting the book to various gatekeepers. I think it’s commonly known now that the bulk of the responsibility for publicizing a book is now mainly with the author, and if that was going to be the case I wanted total creative control of the book and to get a much higher percentage of the sales. Self-publishing does take a lot of work and monetary investment, though. For example, I paid for a developmental editor, as well as submitting the novel for awards.

You made yet another pivot when you wrote Mortimer and the Witches: A History of Nineteenth-Century Fortune Tellers, which just released this past March from Fordham University Press  and received five stars from Foreword Reviews. (Congratulations!) Was it challenging to explore yet another literary form, one that involved considerable research?

Thank you! Historical nonfiction has been my favorite genre so far. I love rummaging through archives (which suits my introverted personality) and putting together the puzzle of the lives of the characters. The book was inspired by a walking tour I gave called “The Witches of Old New York” for the walking tour company Boroughs of the Dead.  I designed the tour with my boss, and as a result of customer questions, I kept going down a research rabbit hole. Eventually, I became so obsessed with the project that I wanted to write a book about it.

Before you were offered a contract from Fordham, you landed a literary agent via a query letter. Could you describe your approach to querying, including the resources you used to come up with a list of potential agents? Is there anything you can share about how your agent went on submission with your book proposal?

In order to find my agent, I went through the acknowledgements section of books that I liked and felt were comparable to my book and from there made a list of agents to contact. I checked each agent’s website to make sure they were accepting submissions. This very targeted approach meant I landed an agent on only the third submission! My agent said he was going to submit to the mainstream publishing houses first, but he had a feeling they might say that the book was too localized. If the mainstream editors turned it down, then he would reach out to academic and indie publishers. My agent was fantastic at balancing the act of keeping me posted as needed on responses, but also not letting me give up hope. He must have submitted the book proposal to about eight to ten publishers before Fordham University Press accepted it. 

Like most writers who publish with university presses, you went through a peer review process during which your work was assessed by expert scholars. What are some of the pros and cons of this process? Did it replace or supplement editorial feedback provided by your agent or acquiring editor?

Because I was writing about an obscure topic, it was difficult for Fordham to locate experts to evaluate the historical accuracy of the book. The other massive drawback is that if one expert doesn’t like the book, it can be held up or even turned down. For example, one of my peer reviewers didn’t have much expertise in the historical period or area that I was writing in. So before I sent the revisions back to the publisher, I gave it to two other readers who could fact check for me. 

On the flip side, one of the thrills of the peer review process was that my work was evaluated by a writer I deeply admire and who had terrific feedback and suggestions. I also believe the second reviewer’s suggestions ultimately made it a better book.

Once I had revised the book to the satisfaction of both of the peer reviewers, the book was sent straight to a copyeditor.

Can you name some of the key differences between publishing with a small press versus publishing with a university press? For example, did one require you to go through more rounds of edits than the other? Expect you to seek out publicity opportunities on your own? Assume that you would give up creative control of the design of your book, especially compared to when you self-published your novel?

At Hanging Loose, all the editorial suggestions came from the editors, whereas with Fordham, the big picture editorial suggestions came from peer reviewers. The expectations of both publishers were that the author seek out publicity opportunities in terms of events. The university press did have a much bigger staff, so I felt as though I had more professional support. For example, when I expressed interest in an audiobook of Mortimer and the Witches, my editor said he was already in the process of trying to sell the audiobook rights. He sold them to Tantor Media, and after an audition, I got to record the audiobook with them.

 I was Hanging Loose’s book cover designer for a long time, so I had a lot of control over how the cover for The Trapeze Diaries looked. Fordham was open to suggestions for the cover design for Mortimer and the Witches,  so I sent them some images and told them what I had in mind. Fortunately, I was delighted by what the designer created, and I was also relieved to have someone else take on the responsibility!

Do you have any advice you can share with writers who have yet to land an agent or book deal? Other tips related to the craft or business of writing that have helped you in your publishing journey? 

Be targeted in your approach to finding an agent or publisher. You’ll waste less of your time and that of the professionals to whom you are applying. This approach will also lead to less rejection, which can quickly become disheartening.

Make sure, as much as you can, that you focus on your love of writing rather than the end goal of being published. It will keep you motivated, and that enjoyment should come across in your work.