Julie Smith also answered the following questions submitted by FictionAddiction.NET's visitors:

Julie, do you find, with a group of serial characters it is easy, or difficult, to continue expanding their circle? What I mean is, the characters around your "regulars," do you find it easy or difficult to fully flesh them out as well? -Lara

I guess I'd have to answer "hard." Or rather, they're really no different from any other characters, but often, when you flesh them out, you get something different from what everyone's used to.

For instance, my agent once asked to see more of Jimmy Dee, Skip Langdon's landlord, because she thought he was funny. So I thought that meant flesh him out- I did, giving him two kids, a boy friend, and lots of new problems. But all this showed sides of him that weren't funny; thus- for her - it didn't really accomplish the purpose.

I once tried developing Jane Storey, the character who's a thinly disguised version of me in reporter mode (something I was for fourteen years), right down to her initials and suspiciously metaphorical name.

Guess what? One reviewer said she didn't remotely resemble a reporter! Well, who knows? Maybe I didn't either.

In general, how much can a first time author secure in payments and royalties from their initial contract? -John

Sorry, John, but there is no "in general." All advances are based on how many books the publisher thinks it can sell, and that, of course, depends on the book; also the publisher. Not to mention the position of the stars, atmospheric conditions, state of the stock market, and, possibly, outcome of the coin toss.

I've been published through small press, but decided I wanted to take the next step. What better way than to find an agent (if that truly is the next step after small press)? I wrote my query, synopsis and revised my manuscript over two dozen times. I solicited the heck out of agents. I got some negative responses, and some positive. After I received the positives, I became skeptical. Is this writer behavior? -Keith

Skeptical of the agents or your manuscript? Or both? Either way, I guess it's writer behavior - we tend not to believe it if something goes right. Go figure.

I'm wondering about your feelings/experience in securing an agent - is it a necessary step in order to gain access to publishing houses? What's a good compromise for fees? -Sarah

Yes, I think it's important to have an agent. By all means, go all out to get one. Most agents these days charge 15 percent. Some of the bigger ones still charge 10 percent, but this is a pipe dream for most writers - go ahead and pay the extra five percent. A good agent is well worth her percentage.

How many rejections did it take until you published your first book? Did things get easier once you published the first? -Shanon

Hmmm. Considering there were five books before one sold, and maybe twenty publishers in those days. I'd say about 100.

Define "easier.." Just kidding - in some ways they did; for instance, I then had a track record, but don't think it meant I'd never be rejected again. HA! I bet I've had another 100 rejections since then.

Your Evans Harrington Grant must be very rewarding--what does it mean to you to be able to help aspiring writers? How did you hook up with the Pirates Alley Faulkener Society? And will you yet establish your own foundation? -Faergen

It's hugely important to me to be able to give that grant. I wish there'd been one like it when I needed it myself; so I can really identify with writers living on the edge.

I hooked up with the Faulkner foundation by pure luck - called the founder to ask how to start a foundation and she suggested that they administer the grant. Fabulous! said I.

I may one day establish my own foundation, but this works great for now. (People who don't know about the grant can go to JulieSmithAuthor.com to see what it's all about. And to apply. By all means, apply!)

Many thanks, ladies and gentlemen, for your most stimulating questions.

Sincerely,
Julie Smith