Saturday, July 22, 2017

The One And Only - Why some writers are stuck


Many writers value their ideas and words so much so that they can’t understand why others don’t see their genius.  They are not open to changes or suggestions and refuse to move to other projects.

I asked one writer friend who attends numerous networking events - always pitching his one and only script to anyone who would listen okay - why he hadn't developed another story so he would have something else to offer. He claimed his script was perfect and should sell on its own.  He did not need to spend time marketing something else.   “Besides, once this story sells everyone will be knocking at my door.”
I tried to tell him that his attitude was counter-productive.  "Agents and managers are in the business of selling.  Even if they like your script, they’ll ask what other projects you have. If you only have one script they have nothing else to sell."
He defended his decision. "My story is unique as are my characters. Any agent or manager will be lucky to have it.”
"But this is your only script."
"My story is based on a real life situation."
"Do you at least have rights to the story?"
He looked askance.  Why would he need rights?  It had been in the news and wasn’t that available to everyone?
 I tried to explain that doesn’t work in the real world.  He continued to insist that his story was great and he was not concerned
 "Okay have it your way.  You still might have difficulty selling if –“
"It's a true story."
"Even true stories need some buffing when being written for publishing or film.  And you never did any rewriting?"
"Why?  It doesn't need any.  Anyone who suggests revisions are wrong.  They’re jealous of my work.”
 Yet for ten years my friend has continued to pound on doors and hit the pavement in search of some to buy his single masterpiece. “My words are golden.”  He continued to spout names of various producers who “loved” his story and claimed interest in it, but “no one wants to write me a check.” 
He wouldn’t even show his script to anyone unless they were willing to sign a non disclosure agreement (which few professionals are willing to do.)
“So you won’t consider a touch up?”
 “It was a great story then and it's a great story now.  My characters are true to life. I even chose the perfect outfits to match their blond curls and blue eyes."
I wanted to say something about character description, but I didn't.   Like most novice writers he failed to understand it is not the physical description but the emotional journey of the character and the impact on the audience which counts but I’ll save that for another blog.
“Maybe if you started something else …if you didn’t obsess on this story..”
“I don’t need to.  I told you. When the agents see how talented I am there and how unique my writing is there won’t be any need.”

Myself, as an established writer, I usually have several projects in different stages of development that can interest my representatives and producers. 
It's always a good idea to take a break from your one story, especially if it's not selling.  Start working on another idea - if only to give your mind a break. You might even come up with a new twist for that first story. 
I don't blame my friend for wanting to sell his one script but a good writer needs to pay attention to the current trends and what the audiences want now. Do your homework.   What is being bought now and why?
Maybe your story is past it's time.  Maybe with some changes you can revive it later.  Or maybe it is time to move on. (One of my books was sent around 21 times -seven to the same publisher - before I added some twists and sold it.)
The fact is - as I have told many of my students - all of you can have a story about five people on a desert island. All the stories will be different because it is who the characters are, their emotional journeys, goals, flaws and how they overcome the obstacles that count. 
 Many writers can have similar stories –even true stories -- but the execution of a story that matters. 
How unique is your story really?  Again it is the characters and not the beats of the plot that matter.
 How can you change it to make it more emotional?
What courses are you taking to improve your craft? 
Now what new project are you working on now while trying to sell this?


If you have a story or script that is not selling, put it away for a bit and take a break.  Look for other projects that interest you.  Who knows maybe in a few months – or even a few years – that news story which made up the core of your script will find an opening even if you have to add a few twists.   

Thursday, June 29, 2017

Top 50!

Just found out I'm in the top 50 of the Capital Funding Competition for my true historical script/book The Master's Will - about a slave who -after her master/husband is murdered by the Klan - ends up inheriting her master's plantation.  She must fight the nephew who planned on inheriting and post-Civil War South to win what is rightfully hers 12 years later.  (The script was also a Page Awards semi-finalist.)   Anyone interested in reading it either as feature or possible limited series can reach my agent italia@ghliterary.com

Sunday, November 27, 2016

You Only Need One


It’s frustrating to wait.  But it is a trait we all must adapt to – especially those of us in the creative business.  So much seems to be hurry up.  “We need those rewrites immediately!”  “Your deadline is coming.  Hurry.  Write faster.” 

And then we sit in front of the computer, or maybe at the kitchen table stuffing our faces with comfort food, as we wait and wait for some word.  "They're busy on another project. They'll get to you soon.  Yes, your work is great," my agent assures me. 

"But if it's so good, why is no one snapping me up.  Look at all the material I have.  Look at what I've done."

I don't know. Maybe because I'm an Aquarian.  They say that we're ahead of our time.   One of my young adult novels - Against Her Will - about teens in a psychiatric hospital (based on experiences I had as a psych nurse, myself,) I had written almost 15 years before.  (Well, I'd penned the outline and first four chapters because at that time as a selling writer I was able to get a contract on just that.  Now, however, unless you are a Kellerman, King or Koontz you have to write the whole novel on speculation before the publishers - big or small - will look at it. ) 

When my now fabulous agent Italia Gandolfo asked if I had any young adult stories, I hesitated and then mentioned Against Her Will (so saying because the protagonist learns that nothing in life is really against her will) I sent it over.  Drama had always been a tough sell.  Readers wanted action, mystery, comedy, I thought.  She assured me we could sell my book and so with the assistance of partner (Jo Schaffer) since I was deep into another project then, we finished the book. 

It’s not like I haven’t had some success, but as my parents told me in college – writers don’t make money.  Be a nurse or a teacher. So I became a nurse.  Still, it was my writing that I wanted to fuel my retirement and provide for my family.   But patience, it seems, has to be practiced in this business no matter how badly you want something.

Another book – My Sister’s Shadow, an unusual Gothic novel at a time when gothics were supposedly hot - took me over twenty submission (seven to the same publisher with actually very little rewriting) before it was finally accepted.   Of course, being "just a writer" at that time and not really conscious of audience cycles, I didn’t realize the reason that while readers were snatching them off the bookstore shelves, the publishers were seeing a decline in their sales.  Topics go in cycles.

Vampires were hot for a while…and then Zombies.  But if you tried to write a book with their focus at the peak, you would have been lucky to get an editor to read it.  I soon learned that when publishers think a subject is in vogue, they buy everything they can get their hands on -- and many of those manuscripts poorly written and poorly edited.  Then when the readers wise up, they stop their purchases…for a while. 

 My script Dragon Seeds (now being called Mark of the Dragon) which I started twelve years ago with my friend director Sean McNamara, won some awards, and then was rewritten numerous times with notes from a variety of sources. It now looks as if it  will now become a trilogy of books and then scripts with the assistance of Amy Miles to partner on the first of them.   Apparently, with the change of times, studios now really like it if you have an IP (Intellectual Property) behind your script since that gives them a modicum of relief that the book audience will head for the movie.  

Meanwhile, with several scripts - some from my books and some stand alones  - sit on my shelves, so I kept bugging my agent.  When are we sending these out?  When are they going to sell?  If I am so good--
Well, you know the writer's self-doubt cry.   Yet I see others, whose work I believe is not as good or as professional as mine, being picked up.  Why?  What am I doing wrong, I ask?

And yes, I have had some accomplishments – maybe more than most writers I know.  Over forty books, scripts and adaptations have been sold.  (Many of the scripts optioned and even a few made.)  I have also been able to mentor other writers by teaching at various colleges and seminars or conferences as well as a workbook –The Ultimate Writers Workbook For Books And Scripts – to help them.   But somehow I still hunger for that big bite, that major acknowledgment from the entertainment world (and reluctant family members, too, who still think I live in a fantasy world.)

"Stop focusing on your old material right now.  Don't pay for people to help you pitch them." My agent says.  “Your time will come.” She repeats that with my new current projects - The Master's Will - a great true Civil War that I was hired to write both as a book and script, and Nursing The Evidence - my television series concept and pilot about forensic nursing (which I was trained in) -- that things will sell soon. She assured me that once I get one bite, others will soon gobble up my works. 

Intellectually, I know she is correct. When you are hot, you are hot.  Yet one can't be help being anxious when sending one's "children" out into the world and wanting them to succeed.   I long for my other projects to fly off the ground, too.  Well, I waited years for some of these other books to be accepted and then published when the "time was right." 

So now I return to my revised book/ script -The Unborn Witness – a former award winning short story and short film - and make it greater than before as a feature and full length book! 

Onward and upward, writers. And I will trust in my agent's superior knowledge of the market.

The pen - or in this case - the computer - shall overcome - and maybe with a little help of some Xanax!   Stop watching that clock!


Wednesday, November 16, 2016

What do we believe?


Oxford English Dictionary just announced the new word of the year “post-truth” meaning supposed truth without the use of facts.  Something we noted quite a bit throughout the recent election campaign.  However, as writers, we often stretch facts and truth for the sake of our stories. 

I hadn’t planned on blogging about this but on a writing topic, but listening to the news constantly it is hard to separate things at time.  As many of my readers know I am not pleased about Trump’s win – mainly because a lot of his campaign seemed to run hate mongering against Mexicans, Muslims, disparaging women –especially those who stood up to him, and others without really giving us any facts about his plans for tax reform, women’s rights, gay rights, immigrants, and many other issues including climate change as a Chinese hoax??  (He says he will not touch Medicare and social security but his friend Paul Ryan vows that he will make changes.)   Then he hires someone as his main advisor a man who has spearheaded a white supremacy movement.   Despite some saying that Bannon is not anti-Semitic, actions speak louder than words.  

Already there have been a huge increase in hate crimes and scrawlings across the nation like notices that this is a White Christian Nation and pictures of the Auschwitz death camp with the notice “Wait for the trains” beneath.  Kind of scary. 

 No Hillary was not perfect, but who is?  Many of her decisions in the past were indeed flawed and as a Jew, I was concerned about her continuing Obama’s coolness toward Israel.  

Many of the “facts” that Trump presented were exaggerated or flawed.  According to one poll, he lied 54:3 (Hillary).   He has indicated he wants revenge on the media that showed him in a negative light and talked about removing their FCC licensing.   He forgets all the free publicity he received that pushed him into the limelight when his boisterous words echoed.   Now, he is banning reporters from certain places.  He slammed and made it appear that Hillary wanted the Muslims to overrun the country while not taking any of his own flaws into consideration.  (Oh wait – he doesn’t have any flaws.  He doesn’t use charity donations for his own use or glorification, right?  He doesn’t sue people on the drop of a pin for a perceived sight or cheat people?)

Today he is receiving accolades from various dictators around the world as Putin, Syria’s Assad, and others.  Do they see a fellow demigod in front of them?

However, a lot of people, especially in the middle of the country are angry and some with good reason.  And we have to give them some credence which apparently the Democratic party did not. (Though as you recall it was the Republicans who shut down the government not one but twice because they did not want to pass the budget. That hurt a lot of people.)  This country is great for many, not so good for others, but still probably better than most countries out there.  It still shocks me at whom I know that voted from Trump, that they did not consider the possible consequences of his words.   But it doesn’t do any good to argue. 

Trump did win the electoral college, though not the popular vote, which I still do not understand.  Nevertheless, according to our laws, he is now the President-Elect.  I heard him say that as a businessman many of his stands were part of negotiations.  But now he seems to be taking those backs.   So what really is his bottom line? Will we ever know?  Will he set off nuclear weapons in a temper snit?  Will he be able to control the hatred that seems to have increased with his own license to speak?  Will he keep any of his good promises like more jobs for higher pay and lower taxes?  He does have a majority of the Congress as Republicans now – but how many will support that?

So it seems the new word “post –truth” will now be part of our dictionary.  I hope that people learn to look beyond the post and read the real facts.  If you don’t believe the “liberal” media like CNN, New York Times, etc at least listen and take things with a grain of salt (as the cliché goes.)  I am trying to listen to places like FOX, etc to balance what I am hearing, but don't see much hope there.  

I guess we can only watch, wait and pray that somehow he will do what is right for the majority of the country – and be prepared to act, if we must, in some way to defend our rights for the next four years.


Friday, June 3, 2016

Persistence and Patience


Maybe it’s because I’m an Aquarius,  but they say it’s our “advanced”  thinking that keeps us from accomplishing things in what we believe is a timely manner.  Whatever it is, I’ve had to have patience and a lot of persistence with my ideas and especially my writing.
Living in Chicago with my first husband, who seemed to be jealous of writing even though he said he wasn’t,  I was pleased when he gave one of my manuscripts – a novel about Deborah the Prophetess (based on the 4 Bible pages of Judges 4/5)  to a literary writer friend of his father’s.  Her cruel words to me were “Honey, go home and do your housework.”  I cried for a few days before I fisted up and said “Hell no.” I was not going to give up despite the lack of support from my husband or my own family.   
While taking a class from Chicago writer in residence, someone asked, "When do you give up?"  His words to her were - "Honey if you can do so, you're stronger than me.  If it's in your blood,  then your screwed." Writing was in my blood and it could not be denied. 

I penned 8 books before the 8th was published and I was able to later revise and rewrite 4 of the 7 books. Going back to those original manuscripts I saw how poorly those had been written and how I had improved. The book about Deborah was finally published in 1990 – a good 10 years after the first draft – by Leisure Books as Lighting and Fire.

Other ideas also took their time to mature.  Sometimes I wasn't ready and other times, the market had changed before I could finish what I was writing.
Living in England while I obtained my masters in writing from Antioch, I became infatuated with the story of Boudicea, the Celtic queen who rebelled from Rome’s oppression in 60 AD. Destroying much of Roman Britain including London.  I wrote a historical romance using the events as a background with her fictional niece falling in love with a Roman centurion - great conflict there.  It’s been almost 28 years since the idea first percolated in me and will now finally appear in July as A Pagan Love by Oak Tree Press.

Persistence also proved to serve me with my Y.A. drama, based on my work with teens thrown into psychiatric wards merely because their parents couldn’t handle them.  Against Her Will was finally published 2015 by Motivational Press when my new agent asked if I had any young adult material.  I pulled out the half done manuscript, updated a bit and, because I was already deep into other deadlines, worked with another client of hers to finish the book. 

My western romantic suspense, Deceptive Desires, also published by Leisure has now been turned into a script - Logan's Land - with several options under its belt.  Since westerns are currently not in favor for the movie market, it might have to wait a bit longer before showing it's screen version, but the book will be re-released by Oak Tree Press in December 2016.

One of my gothic novels - The Shrieking Shadows of Penporth Island - went to publishers 21 times - 8 times to the same house - Zebra Publishers- who finally put it out when the time, they felt was right. 

My non-fiction book The Forensic Nurse  (St Martin's Press) about how we as nurses help police solve crimes and written for the ordinary public to understand what we do, took years to find the right home.  Then it was optioned for a TV series not once but several times, always with something spoiling the deal at the last moment.  (In Hollywood, one must have attachments - stars and directors - push projects forward and the studios want A-list writers whom they already know can produce shows.  So I don't know what went wrong.  But finally when the last option expired, I took it on myself to write my own speculative pilot  for Nursing the Evidence - and show bible, which, has attracted attention.  Fingers are still crossed on that.  

Now, in addition to my own writing, I teach at various universities and conferences and published a workbook based on my lectures - The Ultimate Writers Workbook For Books and Scripts (Motivational Press.)  While there are some differences in writing books and scripts, you basically need an exciting story that will entice the reader and make him care about your characters.   I also assist writers with their stories, too. 
I can't say it has been easy watching my friends snap up quick contracts, but I realized that when the time is right for something, an opening will appear.  One just has to keep on writing, go onto the next project, and the next and know that if it is meant to be, it will.

Please check out my page at www.seritastevens.com

Saturday, May 7, 2016

Today, meet my friend Marilyn and her book Crushing Death



Crossing Paths in Person and the Internet

Often the friends we meet on the Internet become close even if we haven’t ever met them in person.
My first encounter with the name Serita Stevens RN was when I purchased her book, Deadly Doses, a writer’s guide to poisons, published by Writers Digest Books.  The book has been extremely useful to me when I’ve wanted to poison someone—in one of my books, of course. I know I’ll be using the book again.
I believe the only time I saw her in person was at a small romance conference in Fresno—long ago. I don’t remember much about it, though I do know we exchanged a few words.
We were on some listserves together and some emailing back and forth.
Now that Serita is also published by Oak Tree Press, I have been reacquainted with her, and know that she’s now writing screenplays and teaching screenplay writing. Recently, Serita emailed me with some suggestions for putting a proposal together for mystery series. When and if I’ll do it, I don’t know, but thanks to Serita I know what to do.
I have many other Facebook friends I’ve never met in person—but I know the chance is always there. Maybe not as big a chance as there used to be since I’m not flying anymore. But I still do travel around California with my daughter at the wheel becuase I don’t drive in the big cities anymore.
When you get to be my age, you treasure all the friends you have. Thank you, Serita for being a friend.
Do any of you have favorite friends you’ve met on the Internet?
Marilyn aka F. M. Meredith

A Crushing Death
A pile of rocks is found on a dead body beneath the condemned pier, a teacher is accused of molesting a student, the new police chief is threatened by someone she once arrested for violent attacks on women, and Detective Milligan’s teenage daughter has a problem.
Buy link:


Bio:
F. M. Meredith who is also known as Marilyn Meredith is nearing the number of 40 published books. Besides being an author she is a wife, mother, grandma and great-grandmother. Though the Rocky Bluff she writes about is fictional, she lived for over twenty-years in a similar small beach town. Besides having many law enforcement officers in her family she is counts many as friends. She teaches writing, loves to give presentations to writing and other groups, and is a member of Mystery Writers of America, three chapters of Sisters in Crime and on the board of Public Safety Writers Association.
Facebook: Marilyn Meredith
Twitter: MarilynMeredith
Contest: Once again, the person who comments on the most blogs during this tour, can have a character named after them in the next Rocky Bluff P.D. mystery. Tomorrow you can find me here:








Saturday, July 11, 2015

Working With A Partner


Working with a partner can be --to paraphrase Dickens--"the best of times and worse of times."  I know, I've been through them all!  There are actually three different types of partners: good, bad and indifferent.  And I think I've probably worked with all three, each in a different way.  Finding the perfect partner is like finding the perfect mate to marry.  You need someone who could have been your soul mate (perhaps in another life or in another sex).  That someone is hard to find and so you go through a process. 
There are pros and cons of working with partners and there are ways of dealing with partners to make sure the worse doesn't happen.  If I had but known....Even so, I probably would have rushed foolhardy into the "danger" because despite it's problems, working with partners can be a refreshing change. 
Why work with a partner?  Well, for one thing, writing can be lonely.  Some people find that they are more creative in the company of someone they like.  It's nice--when you get along--to have the repartee and to be able to bounce ideas off your co--worker.  For another, you don't sound so crazy when you are voicing your story outloud.  And in the best of times, it can be fun.  You also have a shoulder to cry on when the editor comes back with rewrites that you disagree with or don't thing need doing--or even if she rejects the project totally.
Of course, in the worst of times, it can be double ulcer producing!  Believe me, I know this from experience!
Always have everything in writing. 
After almost every partnership, I usually say "Quote the raven 'nevermore," but like the people addict I am, I usually do it again.  Passing the bakery and smelling the danish, I almost always go in.  Sometimes I buy, sometimes I don't, but it always tempts me, especially if I like the idea.  However, I have developed a check list of my own to see if the "danish" is fresh or stale. 
That's not to say I don't write on my own.  I do and usually have several of my own projects going--almost always at the same time I'm working with a partner.  Mostly, it's preserve my own sense of self that can sometimes get swallowed up in the partnership since with the team work the voice is neither uniquely yours nor hers but a mellow combination of the two. 
Before my collaboration on The Book of Poisons, I had attempted to work with partners before, but it never quite went anywhere.  Usually, it would be a co-worker from my real life nursing job, or another friend who had an intriguing idea.  More often than not, I've had people come up to me with "brilliant" ideas they wanted me to write with or for them.  Mostly these ideas were mundane and stereotypical and not worth my time or energy.  I would tell the seeker that it was a good idea but best that he/she did it on their own. 
Unfortunately, most of the time, the people who wanted to partner with me were novices who knew very little technique and even less of the work it took to produce a book or script.  One friend, who I met at work, had a great idea. I said "Let's do it together." Only I found out later, he had no idea about how to write a script, what work was involved, or how long it would take.  When I had finished the second draft, he gave me some notes…and felt that he had contributed 50% - even though I had done the majority of the story line myself as well as the writing.  (Though according to a copyright attorney, if you have nothing in writing, the law says that you do owe them 50%!)
One time, I attempted to work with someone who had a novel idea based on some real life experiences that I found intriguing. 
However, once she saw what work it was to actually produce a book--which she, and many like her, thought could be thrown together in a long weekend, she backed out.  Since she had helped to create the "child" plot, I decided in this case--and others similar--that joint custody was too much to fight for and let them keep the baby. 
With Anne, I made my standard offer.  Her idea had intrigued me.  We had been folding newsletters for Mystery Writers of America.  Because I'm a nurse, she asked me medical questions for a novel she was working on.  "There ought to be something about poisons that everyone can understand," she said.  I quickly agreed.  She stated she had checked out the books and there was nothing that was understandable for the lay person. 
Because I don't believe in stealing ideas, I feel I have two choices when I hear a good idea: to buy out the idea giving the author created-by credit, or suggest they join me in writing it.  The latter is what I did with Ann. 
The Book of Poisons was the first book I finished in collaboration and I learned quite a few things about working and not working with a partner.  I learned even more when doing Red Sea, Dead Sea with another partner, then with Dragon's Seeds, and later with my partner for Against Her Will..
In Book of Poisons, we had divided up chapters - and I ended up rewriting much of her work; in Red Sea, Dead Sea - The Fanny Zindel series, we worked side by side and bounced off ideas, and in Dragon's Seed and Against Her Will, I did outlines, and characters and then read and revised what my partner had done before doing my own chapters.
While it seems like it might be less work to write with a partner, it is actually sometimes more--especially if that partner doesn't do his/her share of the work.  Other times, it feels as if the partner is doing more work, at least initally.  But even so, depending on how you work, it can be more time consuming since you have to match schedules.  Not an easy thing to do with two busy people. 
You must be prepared to not only work hard, but to sublimate your ego.  The story is ALWAYS the bottom line.  If what you are suggesting works the best for who that character is, than fine.  In Red Sea, Dead Sea, I wanted Fanny to be more religious, but Rayanne had a good point about making her more like the majority of the Jewish population so that a greater readership could relate to her. 
It's also important that you are both passionate about the story you are doing, that you both like the character or the concept and both are convinced it will sell well. 
Often we start out with one concept but even working alone, the baby grows and decides on a different career than what we had planned for him--even more so with a team effort.  When two parents raise a "plot child", the baby often comes out totally different than either expected. 
When there were plot and other problems arising out of the partnership that we couldn't seem to resolve on our own, Rayanne and I (the Fanny Zindel series) decided to go to a marriage counselor.  Yes, you read right.  A marriage counselor.  In the height of our working together, we were seeing more of each other than we were of our respective live-in mates. We would discuss not what we wanted, but what was best for the character and what she wanted.  The fact is, when you spend a lot of time with someone issues are bound to arise and it helps to have a third party to listen and sort things out.  It worked to keep us both sane. 
How do you meet the perfect partner?  As I said, I've run into people that I've partnered in different ways.  Sometimes I've sought them out, sometimes they sought me out, sometimes it was just plain luck, and other times, I was paired up by my wonderful agent. 
With Rayanne, I was doing a private duty case and my patient, a quadriplegic, had to get her car fixed.  Rayanne, also crippled from a work accident many years ago, was getting a hand control on her car.  When I entered the waiting room with my patient, she was reading a Harlequin romance.  "Oh, I write those types of books," I said.  "So do I," she responded. 
I sat down next to her, we began talking.  I was editing my mushroom chapter for The Book of Poisons and handed it to her.  "Here, help me with proofreading this."  She agreed and during the course of the morning, we found we were both animal lovers and into metaphysics. 
Because of her accident and constant pain, Ray had essentially stopped writing.  We became friends and I dragged her screaming and kicking into a screenwriting class with me and then we did a screenplay together, Mujrder Me Twice, which has been optioned several times but so far not produced. 
When I came up with the idea for Fanny Zindel and Red Sea, Dead Sea, I ran it by her.  She came up with some wonderful plot twists that I hadn't thought about and she was able to ground and make logical some of the events that I had just hanging.  So we decided to try writing the book together. 
That brings me to this part.  Now that the nitty gritty of choosing a partner is done, how do you actually work together? 
There are a variety of ways and each couple have their own way of doing things. 
I know one couple living in L.A. and N.Y. who are a successful team.  Jo Schaffer who worked with me on Against Her Will lives in Utah.   Another partner now lives in South Carolina.
As I said with Jo, I had the basic outline for Against Her Will, having started the story many years before based on my experiences as a psychiatric nurse on a teen ward, and allowed her to take off on her own version from there.  I then read what she did, made corrections, added my own sections, and we went forward from there. It was a longer process than I anticipated, but it turned out well.
With Anne (The Book of Poisons), we did much the same only we didn't live quite so far--LA verus Orange County.  She did up her assigned chapters and I did up mine.  However, when it came time to merge the two very distinct voices into one, I had to do the rewriting as Anne declined believing in her very naive way that a good writer never rewrites.
With Rayanne (the Fanny Zindel series) who lived onlt twenty minutes from me, it worked quite different  We both had identical computers and word processing systems so we would switch back and forth from her place to mine, sitting side by side at the computer and composing as we went.  Sometimes she would talk and I would type, other times visa versa.  We would laugh at our typos and be outrageous with our character, we would also be close enough to scream and tear each other's hair out--practially.  But the good thing was--as I said above--we were friends first and foremost and almost always calmed down enough to see reason and what was best for the story. 
Even though she only had two books published prior to our writing together, she was nearly at my place in development since she had certain strengths that I lacked and I had others where she fell. 
When it comes time to publish, you have to make a decision--did you use separate names, or did you merge our names into one.  With most of the books, I prefer to use my own name and my partner use hers.  This is because I have a following already and want people to know I have written it. 
Most publishers prefer one name rather than two because it's harder to shelve and to catalog, but they will accept it, if that's what you want.  Usually the first name listed, when it's a duo, is how the book is found in book shelves and in libraries.  So whose name goes first? 
Usually the one who has done most of the work or the senior partner goes first.  In Red Sea, Dead Sea, Fanny Zindel was my original character and so my name went first.  In The Book of Poisons, it was my medical knowledge and I did a greater percent of the work so that we put Anne as a with rather than a by. 
What happens after publication?
Look at how you both operate and ask, if the worst happens with the book, will we still be talking to each other.  If the answer is yes, it will probably work out.  The trouble is, sometimes we don't know if the answer is yes or no because we don't know the other person well enough to know how they will operate under strain of deadlines and rewrites. 
Basically what it comes down to is that you need to trust and respect your partner.  Long term collaborators are special people.  You have to share not only the money, but the limelight.  However, you can also share the expenses and the fun.  It can be a fun and satisfying experience and one that you don't mind repeating occasionally. 
Here are some things to consider:

things to know before you work with a partner

 

1.  It's important that you both be professional and both know what is involved in writing a book--that may mean one rewrite, it may mean several.  Whatever the editor wants goes, even if it means putting your own projects on hold to redo what you thought was already done. 
2. Communication lines need to be kept open at all times and it's better if you and your partner to be are friends before hand and have common interests to keep the friendship going because it's going to help solve some of the disputes along the way.  Also friends care more about each other's feelings and are more likely to compromise than are two acquaintances. 
3. Comparable skill and competence is crucial.  Sometimes there can be exceptions to the rule, but in cases where I've worked with amateurs, I've often been reduced to screaming, hair-pulling matches where as with other professional writers we knew that the "Play's the thing" or in this case the story or the plot was foremost.  As with Rayanne, when we were doing the Fanny Zindel series, Red Sea, Dead Sea, Bagels For Tea, and our newest, A Jewish Byte, if we could show how our point helped the character or story better than our partner's, that person would win the argument. 
If you are both are the same level of development, chances are you will complement each other in the story.  From experience I can tell you that where the skills are unbalanced feelings of resentment, impatience and unequal contributions make for hard feelings. 
4. Have something of your own that you are dabbling with while doing the partnership so that you don't feel swallowed up.
5. Always have a detailed contract talking not only about shared work, but shared costs--usaully it's 50-50 for both--but what happens if you are offered a sequel and one doesn't want to work on it, what happens if one dies, what happens with public relations, who pays for what, what happens if one doesn't want to finish the book, do you cut your partner in on the profits if you decide to write a sequel and he doesn't, whose agent to use, and how final decisions are to be made if neither can agree.  The contract doesn't have to be in legalese.  It just has to make the points in plain English. 
The easiest thing to do about sequels, I found, is to say that anything arising out to the book will be negotiated separately and that this contract is no guarantee that we will be working together again in the future.
Be as detailed as you can.  I got stuck paying for all the promotion for The Book of Poisons since Anne stated that she hadn't previously agreed to that.  She had, according to our contract, and I could have taken her to small claims court but in the end, decided not to waste my time.
6. Choose a third party that you both respect to help you settle differences--be it your agent, a marriage counselor, or another writer. 
7. If you both have agents, consult with both so that neither feels left out.  Perhaps they can share the work on the project.  If you have a contract with them, they might expect their 10-15% anyway.

8.  Be professional.  Stay calm.  Nothing is forever--even the good ones.