Pitching Historical Romance Series (and Small Presses)

Hey there, PubCrawlers! I’m excited to have author Natalie Murray as my guest today. Natalie’s YA debut, EMMIE AND THE TUDOR KING, is out today from Literary Crush Publishing! Natalie had a unique road to publication, and she’s here to share some of what she learned along the way. So without further ado, here’s Natalie!

There is one genre convention in romance that may never be broken: the happily ever after. Hearts must flutter at the close or heads will roll (or both, in the case of my Tudor books). But how do you pull off a romance serialfollowing the same two lovers—in which each novel features a happily ever after, yet keeps the story going, and is set in a different time period? I faced this conundrum while writing my trilogy that begins with Emmie and the Tudor King, a YA time-slip romance (think Outlander for teens, and with crowns not kilts). After solving the puzzle, I pitched my novel directly to a small press publisher who ended up buying three books. Here’s how (and why):

(Writing and Pitching) With a Love That Shall Not Die…

I picked a historical era packed with drama queens

My books are mostly set in the sixteenth century during the reign of the Tudors. You need only pull up the Tudor family tree to see that this real-life Dynasty drama was a hot mess, strewn with backstabbing, beheadings and baggage. Few haven’t heard of the capricious king Henry VIII with his six marriages, or Anne Boleyn—the first young wife he executed (there were two). How about the conflict between Henry’s daughters Mary and Elizabeth, who had different mothers, different religions, and the same ambitions to rule England? This was an era I could sink my teeth into that would provide a thrilling backdrop to an angsty love story able to sustain three or more books.

I only tried to sell the first book in my series

Even though I saw more than one novel in my writerly-mind’s-eye, I didn’t even mention additional novels in my query letter. I’ve consumed enough romance to know that I could come up with plots for more books in my angsty series. Complicated love is never not-complicated. However, I wrote Emmie and the Tudor King as a standalone novel with the showdown beginning and ending within the book. If I’d plotted out the entire series in advance, I’d have risked the first one becoming a 300-page preamble. Furthermore, because I targeted a small press publisher, I didn’t have to prove all three books to sell the first one. And on that note…

I skipped the agent and went right to the publisher
I totally get that many authors dream of finding an agent who can sell their work to a major publisher. I, too, saw only this path, and began trolling Twitter for compatible manuscript requests by agents. There, I found tweets gushing about swoonish YA romance, written by Literary Crush Publishing. I flew to their website, found more to love, and followed their guidelines to submit a query letter and sample pages—just as I would with an agent. You can read my query letter here. After a requested full manuscript, a video call, and a publication offer, I took a chance and never looked back. I knew I’d have a collaborative relationship with Literary Crush and I wanted to work with people who were as in-love with love as I am. Spoiler alert: they have been brilliant for both my series and my brand.

But There’s the Rub…

Make sure you understand your contract

If you pursue a publisher without an agent, you’ll receive pages of legally binding gobbledygook concluded with a dotted line for your signature. I hired a literary agent to negotiate my contract for me and she did a wonderful job; however, I’m an Australian author who sold my book while I was living in Asia, and my publisher is in the United States. Given my publisher didn’t have connections in foreign language markets (that I knew of) I retained my foreign language rights, but…oh right…no international territory agent wants to work with an author directly, so what exactly do I do with these foreign language rights now? I probably would have been better leaving all the language rights with my publisher so they can pursue other territories if the book sells well in English. My bad. Know how to make the most of your contracts.

Consider where you want to live and work

When I wrote and sold Emmie and the Tudor King, I was living overseas and considering a move to North America. Many Australian authors dream of becoming published in the United States and I regret nothing, but now that I am living back in Australia, I have few opportunities to push my work in my own country. Most people move around less than me (I have ants-in-my-pants syndrome), but more foresight about my plans could have benefitted me in the place where I’m most available to market my work.

Get good at your own marketing, and in haste

I know authors with major publishers that have hired external publicists, so when I made that move myself, I didn’t chalk it up to being published by a small press. Having a larger publisher is no guarantee of a strong marketing budget. Nonetheless, if you sign with a small press, it’s almost a guarantee that you will have to do a lot of work to push the book yourself. My publisher has been truly amazing from a creative perspective, but there’s little budget for aggressive paperback distribution, major advertising, or press tours. Again, larger publishers will also vary in this capacity. Be prepared to get to know your social media apps really well and become a marketing ninja, which is a feather I’m thankful to now have in my bow.

Overall, my goals out of the gate were: to write the sort of book I’d love to read, to give it serial potential but look at it as an independent work, and to have it traditionally published by people that I’d want to hang out with and chat about books and tropes we both love. In that capacity, I’m totally sweet on my writing journey.

How about you? Have you been working on a historical romance serial, a different genre of serial, or are you considering small press publishers? Please feel welcome to leave any tips or share your comments! 


Natalie Murray is the author of EMMIE AND THE TUDOR KING (June 11, 2019; Literary Crush Publishing). A fast-paced YA time-slip romance, Emmie and the Tudor King follows an American high school girl to a reimagined Tudor England, where she meets a doomed, but utterly dreamy, Tudor king. Books 2 and 3 in the series will be published in 2020 and 2021, and Emmie and the Tudor King has already received acclaim from Foreword Reviews, YA Books Central, and popular YA authors Brigid Kemmerer (A Curse So Dark and Lonely) and CJ Flood (Infinite Sky), among others. You can visit Natalie at nataliemurrayauthor.com.


3 Responses to Pitching Historical Romance Series (and Small Presses)

  1. Marc Vun Kannon Jun 11 2019 at 9:30 am #

    I have a set of short stories that ends in a way that I could tie it in with a pre-existing story (of my own), meaning I could create a series about 8 books long with relatively little additional effort. I’ve been wondering if the proper strategy is to do the first book, or try to propose the series. Most people I’ve talked to suggest the first, and it sounds like you would agree.
    I was published with a small press once, the only kind that would take a chance on the stuff I write, but they were too small and went under. Now I self-publish, but I have no marketing mojo at all.

    • Natalie Murray Jun 11 2019 at 8:02 pm #

      Hey Marc,

      Thanks for reading, and for the question! First of all, I totally envy you that you are potentially sitting on an eight-book series with the bulk of the writing already completed (lol). Regarding your question, however, I would finish and polish the first book like it’s a standalone, but also firm up how you could stretch it to the eight (using your existing material). I suggest putting all your effort into the first book until it’s as good as you can get it, and then pitch it on its own, while mentioning in your query letter that you feel it has series potential and are happy to share an outline for up to seven more novels in a possible series. My other question is: are any of these short stories or pre-existing story already published in any capacity? If they are available for people to find and read already, that may present an issue for a publisher.

      I’m also sorry to hear about your bad experience with a small press that went under! That is indeed a risk when dealing with any small(ish) publisher, but I would hope it is rare. I will keep an eye out for your series :).

      I hope this helps!

      All the best,
      Natalie Murray

  2. Marc Vun Kannon Jun 12 2019 at 6:23 am #

    There is a startup magazine called Black Infinity (currently in its fourth issue) that has a story by me in every issue so far, all featuring the same hero and all very different from my usual style. I also have a fanfiction epic that’s 622K long and needs to be longer, since I wasn’t doing a lot of narrative at the beginning. I realized after the third story that it had ended in such a way that I could tie it in to the epic, provided I changed just about everything about the epic except basics of the plot. turning a spy-themed romcom into a Shakespeare-meets-Cthulhu space opera. Which would also make it my first-ever pot-driven story.
    So all of it is available in some form, but since I have a reflex to never write the same thing twice (which is actually a reflex to never write anything I’ve seen done before, applied to my own work) it won’t help. The fandom that the epic was written for is strong (the show was never very popular, cancelled years ago, and we’re still going) but very small, so not many people have read it.

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