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If you Google the phrase “the best writing is rewriting” you’ll find no agreement about who said it first. Hemingway,  Robert Graves, and Truman Capote are just three of the famous candidates. But that doesn’t matter. What does count is the way this quote resonates. When it comes to the importance of book editing, there is near universal consensus. It’s an indispensable part of the writing process and it’s where much of the best work is done. This guide will help explain why editing is so important, how to edit effectively, and the ins and outs of editing a book for publishing  - whether that be with a traditional publisher or self-publishing.   Why Is Editing Important? Writing a book is one thing. Reading a book is something different. It’s manuscript editing that creates the bridge between those two processes. It’s in editing a book that you make sure you are actually saying what you want to say and saying it in the right way. It’s where you get to weigh your words, and make sure they all have the desired impact. It’s where you get to see and remove obstacles between those words and your readers. It’s where you get a chance to enable your book to become the best possible version of itself. It’s where you can turn a book from good to great.   Which all sounds wonderful. But let’s not pretend it’s always easy or straightforward. It’s also where you will make some of the most important and difficult decisions about your work. It is necessarily challenging, painstaking, time consuming and difficult.   Fortunately, there are things you can do to make this process easier and more effective. Let’s get to those now.  The Main Ways To Edit Your Book The first thing to know is that there is more than one way to edit a book. Here are some of the best methods: Editing With A Publisher Or Agent If you’re lucky enough to be picked up by an agent or traditional publisher, you will hopefully get input from a professional who will help get your book ready for the commercial market.  This is the gold standard, in many ways, when it comes to editing a book for publishing. It is a unique relationship because it’s between people who have a special stake in the work in question. However, it’s not the only way to produce results - and often quite a bit of editing goes into a book before it gets through to agents and publishers.   Beta Readers Sometimes a trusted friend or fellow writer can provide that second pair of eyes you need to help you see the things you are missing in your book - and also to give you that crucial insight into how it feels to read your book. It can be extremely helpful - although it can also get complicated and it’s important to find the mix of advice and support that works for you. (Try our guide for all the ins and outs of using beta readers, as well as some useful tips on how to approach the process.)   Editing With A Paid Industry Professional Many writers find it extremely helpful to hire an independent industry professional to give them a detailed and honest assessment of the strengths and weaknesses in their work via organisations like ours (access our editorial services here). The advantages of getting this kind of insight into your work speak for themselves. It can be difficult to decide which editorial service to use, which is where our article about the different types of editing and how to choose between them comes in handy. This article also makes the crucial point that “the right time for editorial input is generally: as late as possible.” You’ll get the most out of an external editor after you have taken your book as far as you can yourself. It’s really important that before you bring someone else in, you make sure you know your book inside out and have taken it as far as you can. Make sure, in short, that you have done the crucial work of self-editing first. The rest of this article will predominantly focus on this part of the process - but some tips will also apply to the other editing methods.  Self-Editing This - as the name suggests- is the part of the process that you can do for yourself. Let’s look at it in more detail now.  How To Edit Your Book The truth is that there’s no one way to edit your book. If I were to tell you that you can map out every part of the process and systematically tick off every aspect of editing a book by following a simple formula, I would be lying. In fact, the very best guide to how do edit your book is very often your book itself. Which is to say, you have to try to tailor the work you do according to the needs of your manuscript. You need to look carefully at what’s in front of you and take it from there. But there are still several important steps that you can and should follow to make sure you maximise the potential of your writing.   Take Time Away From Your Book The first thing to do is nothing. Set your book aside. Give yourself time away from the book so that you can come to it afresh and begin to be able to see the wood, as well as the trees. And perhaps even the path you will need to take through the forest… One of the key elements in editing a book is seeing it clearly. It’s hard to do that when you’re still in writing mode and still in the midst of all those thoughts that crowd around as you get down your first draft.  Format Your Manuscript This feels like a very basic step, but it’s important. When you present your book to agents and editors you want it to be as clear and clean looking as possible. And this is also a good part of that process of helping you to see your words anew. If you have them laid out regularly, in a new font, newly double-spaced and with page numbers your own read through of your work will be more productive - and you will hopefully see your words with different clarity.  Fix Your Spelling And Grammar Again, this is an important job for when it comes to presenting your book to other readers. You want them concentrating on what you want to say, rather than tripping over mistakes and falling into needless confusion. Reading through with an eye on spelling and grammar rather than all the other questions relating to how to edit a book will also again help you see and think about your work in a new way and spot things you might not otherwise have noticed.   Read Your Book I know this sounds obvious, but you’d be amazed at how many people don’t carry out this part of the process. It is clearly a key part of how to edit your novel - but before we get too scornful of those who don’t carry it out, I actually understand why so many writers are reticent here. Much as hearing the sound of your own voice can be painful, reading your words on the page can be discomforting. Once you get to the end of a draft it’s also hard not to feel exhausted - and like you already know your book inside out. But you’ll be surprised at just how many surprises your work can contain. And how different a book can feel when you actually sit and read it from front to back. So do it. Try to put yourself in the position of an editor or first reader encountering your work for the first time and think about the things that will jump out at them. Resist the urge to dig in too deep at this stage. Save the big rewrites for later -  although do make marks and comments and keep a list of things that jump out at you.   Attend To The Big Things: Voice, Structure, And Character There are several, important basic questions you can ask yourself when you’re approaching the challenge of how to edit a novel. Of course, editing books is an art rather than a science so these won’t apply universally, but even if they don’t, it may be useful to think about why they don’t matter in your work and what that means about what you should be doing.   Think About Voice There are certain questions you can ask yourself when thinking about your use of voice. Do I know what I want to say, and am I saying it in the most precise, clear and evocative way? Am I using my narrative voice as fully as I can, and have I captured other people’s accurately? Have I got the right voice for the story I’m telling?   Think About Character There are lots of things to consider in terms of your characters and how you\'ve shaped and developed them in your book. Here are some questions you can ask yourself: Are my characters well drawn and convincing both to me and my readers? Do these characters have weight in the world? Can I recognise them as soon as they enter a scene? What about characters\' voices, either in dialogue or when looking at the world from their point of view? Do my characters all have unique voices?   Think About Structure There are lots of questions you can ask yourself when you\'re editing/examining the structure of your book, too. Is my structure working properly, with a good beginning, middle and end? Does it all flow and add up to something? Is it told in the clearest way possible? Does the chronology make sense and is it easy to follow?    Get Down To The Nitty Gritty: Sentences When you\'re editing at the sentence level there are even more things to consider and questions you can ask yourself. Are the words and images I’m using fresh and vibrant? Have I avoided cliché? Am I engaging my readers’ senses of smell, touch, taste, sound and vision in the right way? Am I tagging every verb with an adverb, and every noun with an adjective? (It may be that many are superfluous, and that with a bit more confidence you can cut them out and trust that your writing is evocative enough to get the point across without them.) Does every word, sentence, paragraph, every bit of dialogue serve a purpose?   Check Your Dialogue Are you using prose to break up the dialogue with things like facial expressions, body language, incidental details, internal monologue and physical and emotional responses? Is that working? Are you using lots of emotive dialogue tags, eg gasped, roared, moaned, grumbled etc? Most of the time, you’ll find that it’s best to stick with s/he said which is almost invisible.   Read Another Article! Here’s a really useful alternative article on editing. It gets into the nitty gritty of line editing, increasing the force of your sentences, closing your chapter with resonance, and getting your rhythm right. It’s full of food for thought for when you’re really polishing and improving your work.   Print Out Your Book See how your work looks on paper. And then, that’s right, read it again. Editing a book is a slow, careful process. Sometimes it can be really helpful to have something tangible that you can feel and hold in your hands. And you can make it fun by experimenting with different highlighters and coloured pens, or physically cutting pages into sections and rearranging chapters or paragraphs. The Art Of Editing Before closing let me emphasise again that editing is more of an art than a science. The important things to do are to work with the manuscript you have and edit it according to its needs. Also always try to think of that reader you want to read your work. What do they know, want to know, need to know? What will amuse and entertain them? What will trip them up? What will keep them avidly reading until the end?   There are many different ways of answering those questions - and different ways of getting to the result you want. Self-editing will help you get a good bit of the way there - but do also keep an open mind about getting more help further down the line.   Finally, a bit more food for thought and a few articles that will also help you take your work further:  How to revise a first draft. How to make sense of proofreading marks. What is copyediting?  Developmental Editing: What It Is & Where To Get It.

You’ve written the book, all the words are on the page and you are finally happy with the end result. Now what?   How do you lay out a book for publication and what are the different parts of a book?  In this article, I will cover all the parts of a book (in order) you are expected to include, what their purpose is and how they should be laid out.   It doesn’t matter if you are self-publishing or being published traditionally, understanding the different parts of a book in order, how they function and why you need them is important. You may not have to take part in compiling each and every one, but even if you are being traditionally published (and it’s not be your job to compile all the different sections) understanding the contents of a book and all their functions is paramount to understanding the publishing journey as a whole.  What Are The Parts Of A Book? Even if you\'ve already polished your chapters to perfection, you still need to prepare various other parts of your book before publishing — namely, the front matter and the back matter.  Now, these terms are not going to be instantly recognisable to you unless you have worked in publishing, but don’t worry, there’s no need to feel intimidated. All books are broken down into three main categories, the front matter, the body and the back matter. These three sections can then be broken down further and I will attempt to make each of these sections as clear as possible. By the end of this article, you will know all the sections of a book in chronological order.  What Is The Front Matter Of A Book? In the simplest of terms, the front matter is a collection of pages at the very start of a book.   Although many readers tend to skip the pages that make up the front matter, this section contains the most important information about the author as well as the publisher.    For those who do read these pages, they are important – so it’s vital you get the details right, and that just as much importance is placed on these pages as any others.   If you are self-publishing, it is even more important to make sure these pages include the correct details. If you are being traditionally published, a few of these pages are taken care of for you, but it’s always important for the author themselves to understand how they work and check the details to ensure they are correct. After all, you’ve spent so much time getting the book right, why make a mistake at this stage?  Within the front matter of the book, you will find the following (in chronological order).   Now, remember we are not talking about the front covers or the back of the book here – these are all the parts INSIDE the book, and they almost always appear in the front matter: Frontispiece A frontispiece is a decorative illustration page that typically appears on the page facing the title page, on the left-hand side. In many books published in the 1800s, this page was often used to display an image of the author and a space for their signature but these days, many fiction writers (depending on genre) will use this area for a map of their ‘world’ or to illustrate an important moment or theme in the book. Or it’s left blank.  The Title Page The title page of a book will always appear in the front matter. This is the page that displays the full title of the book, as well as the author’s name, as they appear on the cover of the publication. This information determines how a book is cited in libraries and any additional references, so ensuring this information is correct is vital.   This is the place where most authors sign their books.  The title page may also include the name of the book publisher and date of publication.  The Copyright Page The copyright page is always found in the front matter and includes all the technical information about the copyright of the publication, as well as the edition and publication dates, legal notices, the ISBN and details of publisher and printer. This page is generally found on the reverse side of the title page in the front matter. The copyright page is sometimes referred to as the ‘colophon’.    The Dedication Page A dedication page can be added by authors who wish to dedicate their book to a person or persons of importance. It is typically found after the copyright page in the front matter. Although this is generally a one line or one sentence dedication, it is given its own page and focus towards the start of the book.  The Table Of Contents If an author chooses to include a table of contents (generally found in non-fiction), it will be found in the front matter of the book and should list all the major sections of the book that follow it, including chapters found within the body of the text and in the back matter.   The Introduction An introduction page is generally only found in non-fiction books. This is different to a preface found in fiction books. An introduction page (found in the front matter) explains the necessary information needed by the reader to understand the context of the book before they dive into the main body. In fiction, the preface is used in a more personal way – more of an introduction as to why the book has been written and the inspiration behind it. Often, it’s in the style of a ‘Dear reader’ letter and signed by the author at the bottom.  The Epigraph An epigraph is a quote or excerpt that often describes the subject matter of the book. This can be in the form of a poem, or an excerpt taken from another book or source, and will include a reference to the quote’s author. It is found in the front matter of the book and usually comes directly before the first chapter.   When including these it’s vital that you gain permission from the person you are quoting.  The Preface A preface is an introduction to the book, written by the author. It often details how and why the book came to life and will provide context for the edition in hand. If a book has many editions, the preface may include details about anything changed or added since the last publication.   The Forward A forward is an introduction to the book that is written by someone other than the author. This can be a friend, family member, scholar or peer.   The Prologue A prologue is a section found just before the body of the book, in the front matter. This section aims to set the stage for the book and often includes an intriguing hook that will be explained more fully with the body of the book. Generally, a prologue will tell an earlier story, but is connected to the main story.   A Note On Compiling The Front Matter Please remember that most of these sections are not compulsory (otherwise the poor reader would be sifting through many pages before they reached the story or book itself). In most cases the title page and copyright page will suffice. The rest are fun extras.  What Is The Body Of A Book? The body of the book does exactly what it says on the tin. It’s the main content of a book. For works of fiction, this is the story itself – the place where all the magic, mystery, love, death, and murder is explored. You may also find sub-sections such as chapters and parts.  For non-fiction, the body is where all your hard work and research is broken down into the chapters that you have already outlined in your contents page.   Sometimes there are also a few extras at the end of the main text:  The Epilogue The epilogue is a section found at the end of the body of the book (generally works of fiction) and is used to wrap up the story in a satisfying manner for the reader. If can be used to hint at something that may come in the next book or as a way to tie up the story with a neat little bow.   Postscript A postscript is a final and brief note that brings a book to an end. Unlike an epilogue, a postscript is very short, generally only one or two sentences. A postscript is generally used to tie up the loose ends of the story, but, unlike an epilogue, this can be unrelated to the main story in the body of the book.   Afterword This is generally found at the back of the body of the book (most commonly in non-fiction) and, in opposition to a foreword, will include any final notes the writer wishes to make.   In fiction this may be called ‘Notes from the author’ and can often be found in novels in which the author has tackled a difficult theme or wants to share how their own experiences influenced their story.  Conclusion A conclusion section is used in non-fiction and found at the end of the body of the work. It’s a section that sums up the main arguments of the book and includes a final thought or opinion.  What Is The Back Matter Of A Book? The back matter of a book, in opposition to the front matter, contains (surprise, surprise) all the information you will find at the back of the book.   In general, authors use this section to provide further context to their readers. It can include mentions of the authors social media accounts, other books published by the author, or even a note from the publisher themselves. These pages are often be referred to as the end matter.   Other sections you may find in the back matter can include:  Discussion Questions Many book club fiction novels include this list in the back matter. These pages will include thought-provoking questions about the book and its themes in the hopes of sparking debate and conversation about the novel.   Non-fiction and academic books also use these pages to pose questions about the topics or subjects covered.   Accolades And Acknowledgments Accolades or quotes from other authors can generally be found after the body of the book in the back matter. This is a chance for the author to include any positive quotes from other authors about the book, and the acknowledgments allow the author to thank all those who helped bring the book to life. Acknowledgements are generally found in the back matter, but accolades are sometimes included in the front matter, often on brightly coloured pages to draw the reader’s attention.  The acknowledgements section is a great place to look if you want to find out who that author’s agent or publisher is or want to see your own name in print after supporting a writer with their book!  Appendix An appendix (or appendices) is generally used by non-fiction writers to provide additional information for readers, including citations, references, research text or additional source information. An author will lean on the information in the appendix to offer more credibility to the arguments laid out in the book.   Glossary A glossary can be used by both fiction and non-fiction writers. This is a section in the back matter of the book where an author will explain any rare, specialised or unfamiliar words or terms.   Those writing in dialect, for example, may find this section helpful for their readers. Similarly, fantasy or historical fiction writers (among others) may use a glossary to help their readers understand specific terminology that may be new to them – or to translate any made-up words or phrases found in the book.   Bibliography Generally used by those writing non-fiction, a bibliography is a section where the author will cite any and all sources and resources used during the research for the book.  Index An index is not only beneficial for non-fiction writers, as a place to refer to sources, but they can also be useful for fiction books which have been re-published, as they may contain several reference points throughout. Any details of which will be expanded on in the index found in the back matter of the book.  Copyright/Colophon Although this section was traditionally located in the back matter of the book, it is more often found in the front matter these days. As stated before, the colophon is a very brief section that will generally include publisher and printer details as well as any copyright information and legal notes.  The Anatomy Of A Book  It’s not until you have finished writing your first book, that you realise just how much goes into the publishing side of writing.   Knowing what extra sections will appear/are needed in your book, and why they’re important, is imperative. Why? Because this is your book and publishing is your world now too. You should know how it works.   If you are self-publishing your book you need your work to stand alone as professional and complete. And if you are traditionally published, understanding why all of this is important allows you to proof and check these pages properly, ensuring you’re happy with every last word of your work. See here for tips on how to present your manuscript. If you\'re self-publishing, here\'s some advice on writing a good blurb. It also gives you the added advantage of knowing what you will be asked to provide, such as acknowledgements and a dedication. Nothing worse than having to rush a ‘thank you’ and forgetting someone!  So, now you know all the ins and outs of a book, it’s time to get that book planned and think about more than just the story. Come on, what are you waiting for. The magic won’t write itself… 

Unveiling The Mystery Of Ghostwriting Do you love writing?  But does the thought of seeing your name out there in public make you feel nauseous?  Well, what if I told you that there was a way that you could write and earn the same as an author or freelance writer, but remain completely anonymous?   I bet I’ve got your attention now.   In the following guide, I will be demystifying the ghostwriting profession. Not only will we discuss the basics - what ghostwriting is and how it works, but I will also share with you my top tips for becoming a ghostwriter, should you decide that this is the path you want to take.   What Is A Ghostwriter?  Have you ever seen a memoir or biography in a bookshop written by a celebrity or public figure and thought to yourself, ‘wow, I never realised they could write’ or ‘I wonder if they actually wrote this?’   Well, chances are they may well not have written it at all. Their book was probably written by a ghostwriter.  So, as the name might suggest, a ghostwriter is essentially a writer who creates content that has been commissioned by someone else (usually the publicly named author). The writer’s name or byline will never be attached to their work (i.e. they won’t get any authorship credit – at all), and the person who commissions the work will own the copyright - which means that they can amend and republish the work in whatever manner they like without consulting the ghostwriter.   But ghostwriters aren’t just commissioned by celebrities and public figures. Ghostwriting is everywhere – from book publishing and blogs, to speechwriting and news articles.  ‘Why would someone hire a professional ghostwriter?’ I hear you ask. ‘Why not just write it themselves?’  Well, as we’ve discussed above, a publisher may wish to publish a celebrity’s memoir because they know that it’s guaranteed to sell, however, they may not have confidence in the celebrity’s writing ability. There are other reasons too, such as the person whose name will appear on the cover not having the time to write it, or simply not wanting to.   This works in the corporate world too. For example, a person may have an award-winning blog or website but may not have the time to write all their own material. They would rather spend their time marketing or networking than actually writing.    This is when it might be more efficient and cost-effective to hire a ghostwriter to take away the pressure of creating regular content.   Now that we’ve discussed what a ghostwriter is, let’s move on to talk about the benefits/drawbacks of becoming one, and I’ll also share a little about how it works in practice.   How Does Ghostwriting Work?  A ghostwriting commission is likely to be very similar to a freelance writing commission, except of course that the commission is confidential. This means you will probably have to sign a Confidentiality or Non-Disclosure Agreement on or before your acceptance of the offer.   When you have signed on the dotted line, you will be given a brief that sets out the scope of the commission and any key deadlines. It’s essential you ensure the brief is clear and that you will be able to work within it and adhere to the timescales required.   Then, depending on whether the commission is for an article or blog piece, or a much lengthier memoir or biography, you will have a series of meetings and/or phone calls to discuss the project. Conversations may touch upon topics such as the themes and overarching narratives of the content, as well as the timeline of events in the story and the authenticity of voice and style.   The duration of this initial phase can depend on the type of commission. For example, if you are writing a memoir or biography, this ‘’fact-finding’’ process could take several weeks or even months, whereas the research element of an article may only require a few days. You may want to ask if you can record any conversations to remind you of any key details at a later stage in the process.   Then, after you’ve completed this more collaborative phase, this is where the hard work truly begins as you will have to actually produce the content that you have been commissioned to write!   As with most writing projects, this part can be extremely solitary. You must be prepared to be very self-motivated and disciplined to work hard on a project that may not interest you (and that you will not be able to take the credit for).   Here are some of the key benefits of being a ghostwriter:   Financial reward. Well-established ghostwriters tend to get paid very well. Fees differs from writer to writer, but most ghostwriters are paid up to 15% more than the average freelance writer. And once you are established in the profession, there is rarely a shortage of work.   Diversifying network. Ghostwriting will inevitably expose you to a diverse range of people within the industry, from bloggers, authors and influencers to celebrities and public figures. It is a great way to build your contacts and grow your network.   Objective distance from work. Many authors will often write about subject matter which has personally impacted them, or someone close to them, in some way or form. Being a writer isn’t for everyone as it can be mentally and emotionally exhausted baring one’s soul to the world. So, ghostwriting instead (writing someone else’s story) can take the emotion out of the equation.   But there are also some drawbacks of being a ghostwriter, such as:    Lack of credit. It’s hard to really know how you’ll feel about this until you have completed your first commission. Some ghostwriters do struggle with working really hard on a piece of work and not being able to shout about it from the rooftops! You have to think hard about what motivates you beforehand. Ghostwriting is not for everyone and that’s okay. If you are concerned this might be you, maybe consider writing a novel under a pen name, which will preserve your anonymity, among other benefits.   Ethics. As a ghostwriter you will have to rely heavily on the brief and your project sponsor. There is a risk that you will be forced to run in a direction that you aren’t wholly comfortable with, or worse, follow a brief with little planning or direction. If you are starting out, you may not feel comfortable pushing back or asking for more input.   Inability to develop own portfolio. Many writers feel that they don’t want to be limited by ghostwriting projects, which limit their own creative freedom and time to develop their own personal portfolio. But arguably, the skills, experience and contacts you can develop while ghostwriting could help you further your own portfolio.   How To Become A Ghostwriter- Tips  Starting out as a ghostwriter is very similar to starting out as a freelance writer, in that you will have to find a way of getting your name out there and establishing a client base for yourself in an already very crowded industry.   To help you get started, we’ve set out some easy to follow tips on how to start ghostwriting below.   Establish Yourself As A Freelance writer  Many ghostwriters start out as freelance writers or editors for a reason, as it helps to show current and prospective clients that you have a portfolio of proven experience. If you don’t have this experience, consider offering to guest blog for well-known blogs and websites. Be prepared, however, to offer your services at a reduced rate or even for free to pick up some clients for your portfolio, but this should hopefully pay off in the long run. Alternatively, you could play the long game and consider starting your own blog or website to demonstrate your skills and versatility as a writer.   Don’t Be Afraid Of Marketing Your Services  All freelance writers and ghostwriters should have a website (or a section of your existing website) offering their services and rates. Not only does this show that you are a serious professional who means business, but you can use it to highlight your freelance writing experience and your portfolio of projects/clients.   Make the most of all the other free marketing opportunities available to you, such as using social media to network and interact with potential clients and other people in the community. Another more ‘out of the box’ way of marketing your services is to guest blog about ghostwriting, which will effectively ensure that your name is publicly associated with the ghostwriting profession (it will also help with SEO and Google algorithms).   Learn The Ins And Outs Of SEO  Navigating the SEO minefield is essential. Not only so that potential clients can find you but also to maximise the traction of any content you are commissioned to create.   If you aren’t familiar with SEO, then consider taking a short online course or doing some further research to learn the basics.   Learn How To Diversify Your Voice  Most writers and authors will develop their own voice over time, which forms part of their brand/author identity so loyal readers know exactly what they are getting when they pick up a book or article written by them. But with ghostwriting you are not writing as you. And that is an entirely different skill set to develop.    You will need to be able to identify and embody the client’s tone and style within your writing in order to completely match their voice. This is much harder than it sounds!   In addition to this, if you are ghostwriting books you may need to learn to write across different genres, particularly when you are starting out.   Leverage Your Network  Word of mouth is one of the most underrated ways of gaining a new commission. But people aren’t mind-readers! So don’t be afraid to approach your existing network to spread the word that you are ‘open for business’.   Examples Of Ghostwritten Books  You may (or may not be) surprised to learn that the following books are publicly acknowledged to have been ghostwritten.   Trump: The Art Of The Deal   This was the book that helped make Donald J. Trump a household name. It reached number one on The New York Times Best Seller list and stayed there for 13 weeks. Whilst Trump has given conflicting accounts on the question of authorship, his publisher stated that Trump played no role in the writing of the book and that it was ghostwritten by journalist and popular ghostwriter Tony Schwartz who cited it as his ‘greatest regret in life, without question.’  Richard Branson: Losing My Virginity  This is a memoir of one of the most celebrated and successful businessmen of this century and is a must-read for aspiring entrepreneurs. It was ghostwritten by Edward Whitley, most likely to sensitively draw out a softer more empathetic side to a billionaire.   Andre Agassi: Open, An Autobiography  If you have read this book there will be no doubt in your mind that it has been ghostwritten, and not just by any ghostwriter but Pulitzer Prize winning writer, JR Moehringer. The stunning prose and skilful imagery would never have been captured by a former tennis champion.   Sweet Valley High (The Final Books In The Series) Francine Pascal didn’t have much to do with the final Sweet Valley books, which were penned by a handful of ghostwriters. This is quite common with huge hit series books, which for a number of reasons such as time and enthusiasm may eventually be written by ghostwriters (including a few young men in their twenties!).   Jason Bourne  This extremely well-known series was published over a period spanning 40 years starting from 1980. The original author, Robert Ludlum passed away in 2001 but over 11 bestselling books were published 16 years after he died written by ghostwriter, Eric Van Lustbader.   Is Ghostwriting For You?  I hope this article has unveiled all you need to know about being a ghostwriter.  Ghostwriting isn’t for everyone, so be certain of your motivations before you start. But for those who love to write and collaborate, while remaining in the shadows, it’s the perfect path to publication. 

Would you ever approach a stranger and ask “how much money do you make?” Probably not.   Yet, as an author of feel-good romance, I have been asked this question by both strangers and those I know quite a few times.  “You must be rolling in it!” they say. “Did you receive a big advance?” and “how much royalties do you get paid?”   Having pondered what gives some individuals the idea they can glibly interrogate authors about their income from their writing, I’ve come to the conclusion that it must be the perceived fallacy that all writers are generously paid for their articles and books, and that we enjoy an indulgent lifestyle.  If only that were true!  So, how much do book authors really make? How much can they make? And how can we, as writers, maximise our earning potential?  In this article I will be answering that question as well as providing suggestions on how to improve your earnings. I have included a list of rough earning potential in both dollars and pounds – but please remember all these totals can vary greatly.  What Salaries Do Authors Make?  The sad truth is that authors don’t make a regular salary, so it’s really a matter of ‘close your eyes and take a stab.’  The answer to ‘how much money does an author make?’ depends on many factors, such as whether the author is self-published or traditionally published, the number of projects currently in their pipeline, how many novels the author in question has previously published, and what the details of these publishing deals might be.   Because the publishing world has evolved to such an extent over the years, many more avenues are now open to writers – making it harder to provide a ballpark figure for author earnings. According to the site uk.indeed.com, the average author salary in the UK stands at $33,078 per annum as of 9th February 2022. Although this may be a generous overestimation if they calculate that by including all the millions authors like J K Rowling make and dividing it by the number of published books out there.   In reality, most writers don’t make the minimum wage from their books and work full- or part-time to supplement their book earnings!  Writing is not like other professions, where there are salary scales and overtime payments. It all comes down to which path to publication you decide to take, how much time you have to write, how you sell your work, and how many books you can produce in a year. That’s just to make money from your first book – because staying a published writer takes even more work!  Ballpark Figures Self-published authors can earn up to 70% royalties from their books, while most traditionally published authors make 5-18% royalties which they only receive after ‘earning out’. That means the books sales have “paid back” their advances and the publishers then start giving them a cut of book sales. From a major publisher, such as one of the “Big Five,” an advance can start from $5,000 for a first-time, unknown author and can go into five figures. This may be more if the author is well-known, happens to have a more established literary reputation, it’s a multi-book deal, or the author has an impressive back catalogue.   Sometimes a debut (or less-established) author can hit upon a very topical idea and write a book that has publishers bidding against one another. Debut Middle Grade author, Anabelle Steadman, recently won a seven-figure book deal with Simon & Schuster (including Sony film rights) for her bloodthirsty unicorn series. So, although very rare, you can get lucky!  Smaller, independent publishers, tend to offer lower advances to their writers – sometimes in the region of $3,000-$10,000. Although some compensate for this by paying their writers a higher royalty revenue, which kicks in sooner as it takes a lot less time to recoup the advance.  Plus don’t forget that advances are taxed, and 15% goes to your agent who negotiated the deal in the first place.  Bearing all this in mind, some may argue that the answer to making lots of money writing books is to self-publish. Yes, you will certainly receive more money per book – but it’s not that simple either.  Author and Jericho Writers founder, Harry Bingham, wrote about this in his recent article for Jericho Writers. Unlike traditional publishing, when you self-publish you have to cover all costs of design, editing, typesetting, distribution, marketing and advertising yourself. You can expect to pay anything between $800-$2,000 to have your book professionally edited and proofread, as well as anything from $100-$600 for a decent cover design.  You may not have agent fees to worry about, but you will also need to be your own publicist – and with self-publishing becoming more popular by the day, that means understanding online advertising and getting your book to market.   Basically, there’s no easy way to make money from your books.   Let’s look at traditional publishing first, and the different ways you can earn money.  Making Money From Traditional Publishing Vs Self-Publishing  What To Expect From Big 5 Traditional Publishers  The biggest publishers, also referred to as ‘The Big 5’, are Penguin/Random House, Hachette Book Group, Harper Collins, Simon and Schuster, and Macmillan. And within those publishers there are many imprints.  If they purchase your manuscript, the sale is generally executed by a literary agent who will keep 15% of all earnings from that book deal (sometimes the deal includes more than one book).   These publishers often (not always) pay bigger advances than independent publishers.   If they decide your book will be one of their lead titles, then they will use their enviable distribution network to make your book available for sale as widely as possible, which means you can expect to see your book in a dizzying array of retailers, ranging from bookshops and online retailers to supermarkets (depending on what ‘path to market’ they think best suits your readership).   They also work closely with the press and, depending on the marketing budget allocated to the title, will support the release with a carefully executed PR campaign.   Being signed with the Big 5 means you are also more likely to receive a five-figure plus advance and your book will almost certainly appear in print, as well as sometimes audio, e-book and even hardback. If you’re lucky enough that your sales ‘earn out’, you will also receive royalties.  Most authors dream of such a deal, which is why they may spend many years (and many scrapped books) trying to be signed by a great agent, as without an agent you will never be signed with a big-name publisher.  What To Expect From Independent Traditional Publishers  Independent traditional publishers work in exactly the same way as the Big 5 – but with slightly less budget, and slightly less reach. But the good news is that they often accept submissions without an agent and are more likely to take on less-commercial books as they are smaller companies with more subjective decision-making.  Although they often pay smaller advances, as mentioned previously they often provide larger royalties and they may choose to pay big bucks as an advance for a book that they wish to make their lead title, when the Big 5 may have paid less and made it one of their lesser titles.  So bigger is not always better. Once again, each book and each author makes a completely different amount of money, but it’s worth understanding how the business works and realistically what’s at stake.  Whether the publisher is large or not, they can both take a book quite far – to audio, abroad, and even to the big screen. Different Ways To Make Money With A Traditionally Published Book  It can be very confusing for a new author to understand how a book makes its writer money. Every book deal is different, and every author earns a different amount. This is in no way a reflection of the quality of the book; it hinges on how well the editors and sales and marketing teams at the publishers think the book will do.  Remember – publishing is a business, and your books are products. If you produce something that is destined to sell well, then you will be compensated as such. The only problem is that books can be mercurial things and what works once doesn’t always work again!  So how do authors get paid? Author Advances  An advance paid by a publisher is intended to cover an author’s expenses while they write the book the publisher has bought. It should be a rough estimate of what the book might earn, paid up front, to give the author support and reassurance. The amount of an advance can vary from a couple of thousand pounds to a seven-figure sum and it is usually paid by the traditional publishers. However, some publishers opt not to pay an advance to writers and instead pay higher royalties. Royalties A publisher pays authors book royalties in exchange for the rights to publish their work in book form. Royalty rates are made up of percentages of book sales and they are entirely negotiable, though some publishers do have standard royalty rates that they try to adhere to for the majority of their book deals. Average retail royalties tend to fall in the 10% - 15% range on hardcover sales, and 5% - 7.5% on trade paperback sales. These are paid quarterly by some publishers, yearly by others.  Foreign Rights Authors who retain translation rights, may submit their book to a foreign rights agent (sometimes their agent works with foreign publishers and reps), or their publisher may commission a foreign rights agent to represent the publisher’s catalogue, or collection of titles.   A foreign rights agent represents translation rights on a worldwide basis or for select languages. Then, the foreign rights agent plays matchmaker, matching books with foreign publishers who have published or are looking to publish similar works.  You get paid by a foreign publisher for every language or territory you sell your book to – this can be anything from $1,500 per book, per territory, to six figures (not as common).   Literary agents receive a slightly higher commission for foreign subsidiary rates and translations, generally 20% commission compared to the usual 15% a literary agent receives.  TV Rights   One of the first steps a TV/film producer makes when developing a project for the screen in which they are interested in, is to obtain story rights. The usual legal vehicle for this is an option contract. The producer options exclusive rights for a specified time to develop your creative work and determine if there is any interest in adapting the work into a film before committing to purchasing the work. The option puts money in the writer’s pocket in exchange for putting the book rights on hold during the negotiated time period. Sometimes that time runs out and the options are sold again, so the writer is receiving money for nothing while the producers try and get the project off the ground. Again, options vary in amount and contractual length, but $15,000 for three years is not uncommon.  This can be handled by the publishers or the agents direct. Most literary agents have experience of such contracts and would be more than happy to handle this on your behalf!   The literary agent commission on film rights and audio book rights is typically somewhere between 15%-20%.  And now for self-publishing. A completely different kettle of fish…but one that more and more traditionally published authors are diving into. Self-Publishing Publishing your own book means you never sell the rights to the book. It’s yours. There is no advance (ie money up front) in self-publishing – it’s completely down to you as the author to make whatever investment you can afford to get your book out there.  Most indie sales take the form of e-books, often taking advantage of print-on-demand services provided by suppliers such as Amazon. But that means limiting your distribution to online sales. For those with dreams of seeing your work sold in physical bookshop and adorning the shelves, this is much harder to do with self-publishing. You can personally go from bookstore to bookstore, many independent bookshops love to support local indie writers, but you’re unlikely to see huge sales of your hardback in Waterstones and B&N if you self-publish.  You are also less likely to see your book in the national press (again, local publications do support local writers, but you have to do all the PR yourself).  But, because you can decide on the price point of your book and have the possibility of publishing as many as you can write a year (whereas traditional publishers generally publish one book per author per year), plus you get a larger cut per sale, you have the possibility of making a lot of money. After a year, some self-published authors are making a living wage from their books. Some are even making millions!   Here is a list of more Jericho Writer resources about self-publishing and how much you can expect to make: Traditional Publishing Vs Self Publishing Should self-published authors turn to traditional publishing? Why A Best-selling Author Chose To Self-Publish How Much Does it Cost to Self-Publish a Book? How to Control Your Self-Publishing Costs How Much Does it Cost to Publish a Book? And remember, unlike traditional publishing which is very subjective and often down to getting the right agent, the right editor, and publishing at the right time, with self-publishing you get out what you put in.   So the question you should really be asking yourself when considering self-publishing is not ‘How much money will I make?’ but ‘How hard am I prepared to work to make enough money?’  Getting published is an amazing experience. However, for the sake of your future writing career, getting published is not the same as staying published!  Securing one good book deal does not mean you can give up your day job. You should therefore try to remain productive and add to your back catalogue of books and articles, in order to establish a steady income.   Luckily, most authors make their money not from their books, but from being a writer. Here’s how…  Tips For Authors To Make More Money  Here are a few tips which you might like to consider for increasing your cashflow as a writer.  Enter writing competitions. Many offer generous cash prizes and it is a good way of potentially boosting your writing coffers. It is also a very enjoyable diversion from your usual writing routine. Come up with pitches for freelance articles and approach newspapers and magazines. It’s a competitive market, but editors are always on the lookout for new ideas. If you can suggest an original and eye-catching pitch, there is money to be made. You might also find if the editor published you once, they will publish you again.  The figures below from the National Union of Journalists website, gives a rough estimate of what you could expect to earn writing articles in the UK (fees vary country to country). For example, once you are an established feature writer, writing a 1,000-word tabloid feature can earn you approx. £800.  Page lead, tabloids - sky\'s the limit, rarely less than  1250.00 Tip-off leading to exclusive or large spread, upward of  1000.00 Splashy features for \"qualities\", per 1000, from  800.00 Normal features for \"qualities\", per 1000, from  500.00 Page lead, for \"qualities\", per 1000, from  500.00 News, for \"qualities\", per 1000 words, from  430.00 Tip-off for news, \"qualities\" - much more for big stories  200.00 Commissioned online blog post - e.g. \"Comment is Free\" from  110.00 Tip-off for diary - minimum  50.00  RATES:  Writing, reporting and researching National newspapers category: Newspaper supplements  Splashy features for \"qualities\", per 1000, from    1000.00  Per 1000 words, generic   600.00  Being a writer, means you have publishing experience. That means you can also get paid to:  Attend paid literary events and give talks (approx.. $200-1,000 per event, depending on how sought-after you are)  Lecture on creative writing, either privately or to uni students (approx. $250-$500 per day)  Write blog articles like this one (approx. $100-$200 per blog)  Become a freelance editor (approx. $750 to $2,000 per book)  Be a proof-reader, beta reader, blogger or sensitivity reader (bloggers and beta readers don’t often get paid, but you do get to read some great books).   Be a writing mentor (you may charge an hourly rate of $80-120)  Become a ghostwriter (this can vary, and some writers get paid in royalties only, but others can get $5,000-$10,000 up front per book)  Explore Different Writing Opportunities I hope this article has given you some indication as to how much money you can make being an author. Sadly, unlike being a plumber or solicitor, the career trajectory of an author is never a straight line and no amount of qualifications can guarantee you more success or money.  But, the one way you can help yourself as an author, is to keep learning and keep writing. The more books you write, the better you will get and the more ‘products’ you have to sell. And with determination and dedication, writing books can not only lead to great things but can also help get you other paid work opportunities.   You just have to be creative – and luckily that’s exactly what we are! 

You\'ve finally finished your book! After months of writing, followed by toing and froing with your beta readers and editor, the book is ready to go to print. But just as you\'re thinking of jetting away somewhere hot and having a much-deserved rest, your publisher (or Amazon Central) asks you for an author headshot.   You could give them that photo of you at your cousin\'s wedding, or the one work took for their website. Right?   Wrong.   In this guide, I\'ll be explaining how author headshots function, why having the perfect one matters, and I\'ll show you how to organise a professional photoshoot, get the right look, and make the best use of the result. I’ll also link to some real-life author headshot examples. The Importance Of Author Headshots Like any aspect of self-branding, the writer headshot should never be overlooked. However open-minded we like to think of ourselves, people make snap decisions about each other and what they have to offer based on what they look like. This also holds just as true for an author on the back of a book, as well as people we meet face to face.   This is both bad news and good. While a poor author portrait could put potential readers off your work, a good one can do the opposite. It\'s an excellent opportunity to communicate your genre, tone, and style. And it\'s in your control!  This is why it makes sense to invest time and money hiring a professional photographer for a photoshoot (unless you have a generous friend in the business who will do you a favour, or you’re exceptionally good at selfies and have a well-lit studio at home).  So where do you start?  Author Headshot Tips Find The Right Photographer  Traditional publishers will occasionally arrange author headshots themselves. Usually, however, it is left to you to choose a good local photographer. Make sure you follow any specific instructions from your publishing house – and if you\'ve collaborated with somebody else on this book, you will both need your own photo.   The ideal photographer will have taken this kind of portrait before, and they should be able to show you some of their previous work to help you decide. Take a look at the photographer’s online portfolio or check out the name of photographers that took author headshots you like from other local writers.  Are They Right For You? Choosing a photographer may not be a life-long commitment, but you are paying them to take photos that will be defining you as an author – not to mention spending a morning or afternoon with them. It’s important you feel comfortable around them. Meet them first to discuss your requirements or have a quick Zoom call to get an idea if you will work well together (after all, you may need more photos in the future). If you’re not happy, walk away. The more comfortable your photographer makes you feel, the better the results will be.  Calculate The Best Package For Your Budget Author headshots can cost thousands of pounds or dollars. However, the average cost is between £100 and £150 (US$100 and $250). Location shoots with multiple looks and outfit changes are likely to cost more than straightforward studio shots in front of a single background.  Confirm the price and what to expect within the package. Ideally, you want to own the images you choose (the alternative is paying a licence fee every time you use one). Find out whether you will need to pay for each photo separately or if the photographer will give you all the images in a digital file.   You may want your photos retouched to remove blemishes (dark circles under the eyes, for instance). The need for this may only become obvious after the shoot and add to the cost as it’s not always included. So be prepared for that.  Create A Good Brief  Decide the impression you want to make with the headshots and communicate this clearly to your photographer. What do you need to consider?  Research your competition To get an idea of what style of author portrait photo is right for you, look online at the Amazon pages and websites of other writers in your genre for inspiration.   What are you trying to get across in your author portrait? Are you fun and lively, or moody and dark? Is your work serious literary fiction, or do you write light and fun rom coms? The photos on the website of a picture book author will be very different from the one Ian Rankin uses for his crime books, for example.   Black-and-white or colour?  While black-and-white works well for high-brow literary types, most commercial authors choose colour. A traditional publisher may make this decision for you. The average release from Galley Beggar press wins at least one literary award, so it\'s no surprise the author photos on their website are all in monochrome. But bear in mind, if you wish to use the same photo for press, many magazines ask for a colour photo. Some writers use a number of images from the same shoot for various things.  Location, Setting, And Background The focus of the headshot should always be on the author\'s face. Thus, many writers use a plain studio background, particularly for online stores like Amazon. However, others use an appropriate setting, hoping it will help communicate their brand.   Mary Berry, famous cookery book writer and presenter of The Great British Bake Off, stands in a white kitchen for her author portrait. Robert Thorogood’s photo is in front of Marlow, the UK setting for his new cosy crime series. Cathy Cassidy, a Young Adult writer, is pictured in the back of a VW campervan.   The dark red wall behind Rory Sutherland’s Twitter profile, clashes with the bright red jacket he’s wearing. The overall effect is unexpected for a business guru, yet his latest release \'Alchemy\' has the tagline, \'The Magic of Original Thinking in a World of Mind-numbing Conformity.\' He’s not trying to be corporate.   Plain studio shots work particularly well for serious black-and-white photos. But remember, an entirely plain white background flatters very few people.  Image Styling: Be Yourself If I was being entirely myself in a writer headshot, I wouldn\'t brush my hair. That kind of honesty, however, would probably stop me selling books.   I\'m not suggesting you lie about who you are, but it’s important to project how you wish to be perceived. Think of yourself as the main character in a book about your writing career. What does this person wear? What expression and mannerisms do they use? Are they business-like, fun, or very serious?  Outfit Even authors going for ‘zany’ should keep their outfits as simple as they can. The safest plan is to wear one or two layers of plain clothing with an open collar. Busy patterns will detract from your face, as will too much jewellery. (The shy may see that as a good thing, but it isn\'t).  Period costumes may well suggest historical romance, but they will detract from the author’s face – and it’s important that your readers (and the press) know what you look like. Period romance author, Evie Dunmore, gets it right. Her outfit suggests a Victorian or Edwardian woman by wearing three simple items - a lace top, a wide-brimmed hat, and a pearl ornament in her hair. Not quite fancy dress, but enough of a nod to her genre.  Different make-up and clothes will look better in colour or black-and-white. If you\'re not sure which will work best, play around with both looks. You can always ask to have more than one photo taken at the shoot, but as discussed, this will increase time and possibly cost. Save time and money by taking selfies at home and asking friends and family what they think suits you best. Hairstyle This is probably not the time for a radical new hairstyle unless you\'re given to eye-catching changes. Ideally, you want readers to be able to recognise you at author events. Even if you don\'t think you’ll attend real-life book signings, you may want to appear online in a Facebook live, for instance. So if you\'re usually blonde and wear your hair back in a ponytail, do that. Now is not the time to try out a bright pink beehive. Lighting If the shoot is outside, the photographer will probably make the most of the natural light. Depending on the time of day this may be warm, soft, and flattering light. Let them decide the best time of day to achieve the look you are going for. For instance, during the late morning or early afternoon, there\'s usually a yellow light with few harsh shadows. And the ‘golden hour’, the period just after sunrise or before sunset, gives a red light and softer look.   Wherever the shoot, light on the face makes you look fresher and more approachable, a good thing for almost every author. If you write crime or horror, an arty portrait with your face in shadow may seem like a good idea. Take care, however. You don’t want to be confused with one of your villains! Practice Your Pose Body language matters, and so does being relaxed in front of a camera. This is the time where the mirror is your friend.   Choose a pose that feels natural. Don\'t force a smile or anything that doesn\'t feel right. If you\'re not comfortable, it will come across in your photos.   Consider if you\'re going to have your hands in the picture and what you can do with them to add to your message. For example, you could rest your chin and hands on a flat surface for an informal feel. Or hold your chin to look like a professional with good advice. Some authors cross their arms, but remember that depending on your genre this can look defensive and may make you look unapproachable.  Again, take a look at what other authors are doing. Some writers opt for the close up to be framed so no arms make it into the shot (a lot less pressure). Props You could also think about using an appropriate prop (and whether it would make you more or less comfortable during the shoot). Perhaps, you could hold your own book, or the Golden Dagger you were awarded last year. Again, the emphasis should be on you, so keep it simple and avoid cliché. Only use a prop if it will add to your overall message.   Also bear in mind whether this photo is just for one book, or you want it to be used for a number of years. It doesn’t always help to use a photo of you holding up your debut when five books down the line you are known for a lot more.  Rest Before The Shoot A photoshoot may seem like a largely passive activity, but how you feel on the day will affect how you look and come across on camera. Avoid those dark under-eye circles by drinking plenty of water and getting a good night\'s sleep beforehand.  Look Directly At The Camera Many headshots break this rule, but it helps create a sense of connection with the viewer. Again, ask yourself if you want to come across as a whimsical, mysterious writer or direct and approachable.  Be Relaxed The photographer will do their best to put you at ease, but there are also practical things you can do to help yourself on the day.   Allow yourself plenty of time to get to the shoot, so you\'re not rushing.   Remind yourself that however badly it turns out, your author headshot is nowhere near as important as writing a good book. And the photographer will take lots of photos, so you can always discard those you hate at the end. If it puts your mind at rest, ask to take a look at the first few shots to see if they are working.  And, going back to acting like a character in your own book, if it helps hide behind your new persona. Yesterday you were a nervous introverted debut writer, but today you are a famous author - cool, calm, and collected.  Listen To Your Photographer They should be able to guide you to an author headshot that works. If they say that a certain pose works best, listen to them. Take direction. They know what works.  Ask For Black-And-White Copies Of Your Colour Photos This increases your choice later on. You can convert the photos digitally yourself, but it’s usually better done by a professional.   Select The Right Images You may be tempted to choose the image that makes you look fifteen years younger or like a supermodel - but the best author headshot is the one that conveys the right message and reinforces your \'brand\'.   Ask other people to tell you honestly what they think, especially if they read the genre you write. Why not enlist the help of your followers on social media or your publisher’s publicity department? This can be a fun way to connect with readers and see yourself through their eyes.  Use The Same Photo Across All Of Social Media Consistency is key when it comes to self-branding. Whatever image you choose to use on your website or the back of the print book, use the same photo across online stores and social media. This will make it easier for readers to recognise you as the same person and, hopefully, increase your number of follows.  But, like most rules, some are made to be broken. Picture book author, Julia Donaldson, uses a headshot with a plain studio background for her Amazon page but she’s surrounded by soft toy versions of her characters on her website. There’s a particularly good photo of her reading to the Gruffalo.   So, if your Linked In profile is serious and you are using it to connect to the industry to sell them a self-help book you are pitching – perhaps don’t use the same sultry image of yourself that appears on the website of your raunchy erotica series.  Keep Your Photos Up-To-Date Whatever the temptation to stay eternally young in your reader\'s minds, you should upload a new book author headshot every two to three years – especially if you change genre or publisher. As your career evolves, so should your photos. To Summarise… All in all, preparing for the perfect author portrait shoot is simple.  Hire a professional, brief them well, prepare your look and setting beforehand, and relax during the shoot. If you follow this advice, you should have a great headshot to add to the rest of your marketing package. 

Self-publishing is no mean feat. After the herculean task of writing your book, it may seem easy to go at it yourself. Maybe you\'ve already explored the option of traditional publishing, and it isn\'t for you. Perhaps you\'re burnt out from the hunt for an agent. Either way, if you\'re reading this, self-publishing may well be the gleaming light across the dock enticing you with promising book sales and a sense of achievement. Going it alone is admirable, but there\'s also lots of things you must be aware of first. Cutting corners may lead to you being blinded by less than virtuous offers. Integrity in book publishing is not a lost art - you just have to know where to look. This article will show you the best self-publishing sites, platforms, and companies around to help you (help yourself) and get your book into readers\' hands - the non-traditional way... What Do Self-Publishing Companies Do? Self-publishing companies are in essence service providers. You bring the completed project and all its frills, they supply the technology/logistics needed to publish it. But there are different levels of service you can opt for. At the most basic (and essential), you can sign up with a pure retailer - notably Amazon. Amazon obviously has the power to reach all the readers in the world (and it\'s extraordinary to think that all that power can be at your disposal - for free.) But if you self-publish with Amazon, the whole business of cover-design, blurb-writing, pricing decisions, marketing and so on are for you and you alone. Amazon is not going to get involved. At the other end of the spectrum, you have companies that will do all of that for you ... but at a cost. That cost is measured in dollars, certainly, but also, those companies don\'t care about book sales the way you do. If they sell you a cover design that you\'re happy with, then they\'ve made their money. Job done. They don\'t actually care whether that book cover generates sales for you or not. In other words, the more you get others to do, the more you are putting your book into the hands of people who care less than you. For that reason, it\'s worth taking a look at the range of options out there... Types of Self-Publishing Companies Rest easy, for self-publishing companies will not own the rights to your book - you will. They will typically take a share of the royalties, however. When deciding who to go with to publish your book, it\'s important to consider the differences between the three main types of publishing service companies and the roles they each fulfil. Retailers Think of retailers as online bookstores. They give your book a spot on the digital shelf, so to speak. If they\'re a big enough name, you\'ll publish your book through a branded ebook publishing platform. You\'ll share the royalties, just like you would if you went with an aggregator. Examples include: Amazon KDP, iBooks Author, Barnes & Nobles Press, Kobo Writing Life Aggregators Aggregators distribute your book to multiple retailers simultaneously. They often charge you for this convenience. They take their share of the royalties only after your book has made its sales. Examples include: KDP Print, PublishDrive, Smashwords, Draft2Digital Full-Service Companies Full-services companies are the whole package. They offer editing, formatting, interior and cover design, blurb, and distribution all rolled into one. Just because you\'re going the self-publishing route, doesn\'t mean you have do all the publishing heavy-work yourself. However it\'s worth noting that this option is best suited to those looking to sell only a few copies of their book—and not with significant commercial success in mind. Examples include: BookBaby, Outskirts Press, Matador, White Magic Studios Vanity Publishers and Hybrid Publishers We should probably also include a note about vanity publishers. These guys are the snakes and serpents of publishing. They essentially pretend to be a real publishing company contemplating the commercial publication of your book. Inevitably, however, you\'ll be told that the \"editorial board\" or something other fictional entity decided they couldn\'t quite afford the risk of going it alone. So you\'ll be invited to spend some quite large sum of money on \"partnership publishing\", or something like that. If it smells bad, it is bad. Just say no - with emphasis. If you feel like adding a cuss-word or two when you say so, then we won\'t be offended Hybrid publishers are a somewhat cleaner version of the same thing. They\'ll ask for money to get you published, but be more candid about likely outcomes. If you encounter honesty and openness, the publisher may well be trustworthy. If you encounter heavy selling and a lack of candour, then avoid, avoid, avoid. Self-Publishing vs Traditional Publishing Some authors will instinctively know which publishing route to take for their book. For others, it may be a tougher decision. Traditional publishing often follows a linear pathway from submission, to finding an agent, to having that agent pitch to publishers on your behalf, to the publisher buying the rights to your work and distributing it as widely as possible across various territories and mediums. When trad published, your work has a whole host of people behind it who all have a vested interest in its success. You, on the other hand, are now an empty-nester taking a more hands-off approach to the future of your book. Will you be involved much in the rest of the process? Well: up to a point. You\'ll never have the same level of control - and you\'ll never get the same level of royalties. A self-pubbed ebook will give the author royalties of 70%. The same number for an ebook sold via a trad publisher through an agent will typically be under 15%. It\'s that stunning difference which has powered the whole self-pub revolution. And while good book sales are simply too multifactorial to summarise neatly, the fact is that self-published authors typically make more money than trad-published ones. There are more million-dollar a year indie authors, than there are million-dollar a year trad authors. The same is true if you knock one zero off that number, or two zeroes. Yes, you can make money as a trad author, but if money is your only metric, you should think seriously about self-pub. But the money doesn\'t come by itself. It\'s not enough to write books, you have to market them. You have to write books that people want to read. You have to think hard about the genres that do best as self-pub books. And the money won\'t flow without a little investment upfront. And you won\'t make money until you have a little stable of books to offer, not just the one. And of course, it\'s unlikely that you\'ll see your book in a physical bookstore. So yes, there are challenges - and ones that you need to take seriously. But if you want total creative control and the best chance of making money, self-pub is just too good an option not to take seriously. Top Self-Publishing Companies If you are going to go the self-publishing route, then take a look at our compilation of the 12 best self-publishing companies and what they have to offer: Retailers: 1. Kindle Direct Publishing (KDP) Amazon\'s KDP is the kingpin of self-publishing companies, where most e-book sales take place (about 85% of the total). To use this service, you must first create a Kindle account and fill in your tax information. Uploading an ebook-ready manuscript is quick and easy after that point. You have to do it all yourself, but the user-friendly interface invites every author to give it a go. It\'s not the only piece of the puzzle, though. Amazon can step in with their KDP Select program which helps you market your book with deals, though it will own your book\'s exclusive rights for whatever period of time you choose to use this additional service. Furthermore, Amazon also offers one of the top print-on-demand (POD) services - KDP Print. To get your book turned into a paperback and distributed, all you have to do is upload a formatted PDF and cover design - made even easier if you already sell ebooks on KDP. This service is technically an aggregator and will get your book (as a paperback or ebook) to other bookstores and retailers if you opt in to \'Expanded Distribution\' via your KDP dashboard. Know this: One of the biggest decisions you\'ll be making is whether to publish \'wide\' (via every retailer) or \'narrow\' (via Amazon only.) It sounds obvious that you should want every retailer on your side, except that exclusivity with Amazon confers some powerful benefits. As a rough guide, we\'d suggest that you publish narrow to start with, then reconsider your strategy once you have two or three books out there. 2. Apple Books (iBooks Author/Pages) iBooks Author is the second-best free-to-upload self-publishing outfit - but it\'s a distant, distant second best. No sane person would consider working exclusively with Apple. It\'s only a question of who you sell with in addition to Amazon - if anyone at all. Also, do note that Mac users have a monopoly on this service, however, as you have to be a Mac user to publish there and take advantage of the 70% royalties rate. If you are already assimilated into Apple\'s eco-system, you can upload your manuscript from Pages, which as of mid-2020 replaces the iBooks software. If not, you first need to use an aggregator to publish (in industry-standard ePub format) to the Apple Store. iBooks Author pairs nicely with Vellum, a free-to-download formatting software made for Mac with purchasable packages for exporting your ebook. It has great features and you can even publish in paperback with Vellum Press. 3. Kobo Writing Life Another retailer on this list - Canadian Rakuten Kobo\'s self-publishing division \'Writing Life\' - accounts for 25% of Canadian ebook sales, as well as having a significant international presence. You might have also heard of their e-reading device. The simple, step-by-step publishing process is attractive, as well as the inbuilt sales analytics tool on their platform. With its maximum royalty rate and global outreach, Kobo\'s self-publishing program is very popular. But again, don\'t publish via Kobo only. Either publish with Amazon exclusively, or with Amazon, Apple, Kobo and everyone else. For most (all?) newer authors, it\'ll make most sense to attack those smaller retailers via an aggregator. 4. Barnes & Noble Press Free to upload, 70% royalties, an easy-to-use interface. But B&N is fourth on this list for a reason. Add it as part of a \'wide\' sales strategy. Don\'t think about it, even for a moment, as an exclusive partner. Aggregators: 5. Draft2Digital Draft2Digital is a service which takes care of your book formatting for you. Getting your book published with them is easy: set up a free account, upload your manuscript, choose from a wide range of vendors, set your own list price, manage your book sales and track your metrics. They take care of the rest and provide ongoing support. If you want to publish \'wide\', then we recommend: Setting up a direct account with Amazon KDP. You always want direct control of your Amazon account. It\'s too important to entrust to anyone else. Handling your wide sales via Draft2Digital. D2D is the best of the aggregators and is a nice easy way to enter all the retailers other than Amazon Customer service at D2D is great and the tools are slick and constantly being improved. Recommended. 6. Smashwords Smashwords was one of the first aggregators to come about, and it distributes to just about everywhere BUT Amazon. Its cut is 15% and that doesn\'t include formatting - you\'ve got to do that yourself! With a little effort, it\'s a wonderful resource and can teach the average independent book author all they need to know about branding, marketing, and publishing. Smashwords has seen a lot of competition lately - namely Draft2Digital who does distribute via Amazon AND formats your book for you. Smashwords has traditionally been strong in the romance area, but even there, we don\'t think it\'s the best option for you today. 7. PublishDrive PublishDrive boasts connections with over 4500 publishers and over 400 stores - with excellent international distribution. The interface is used to check in on all your royalties and sales, which will be slashed by 10% if you don\'t pay to subscribe to their service and keep all of your royalties. Luckily PublishDrive has 24/7 customer support to help you keep all those plates spinning. A good alternative to D2D. 8. Ingram Spark Ingram Spark is the only meaningful competitor to KDP Print worth mentioning. This company reaches a great amount of readers with its global print services independent of Amazon. They can sell your book through 40,000+ retailers and libraries—in stores and online. For this reason, IngramSpark provides one of the top print-on-demand (POD) services, though does not sell direct and is instead technically an aggregator for print. Full-Service Companies: 9. BookBaby Using BookBaby for self-publishing authors means purchasing one of their Self-Publishing packages. These vary depending on how much help you need with design, marketing, print, and distribution - although they are very good at helping writers get seen on Amazon. You can rest assured that the professional care taken to perfect your pages for print comes at no extra cost other than that which you pay upfront. Royalties suffer slightly however at 50% if you choose to sell directly to readers via BookBaby\'s Bookshop. BookBaby boasts a global distribution network of its own as well as offering an Amazon Priority Service to further expand your reach with KPD Select. 10. Outskirts Press Outskirts Press\' full-service package offers much of the same, with the caveat of having fewer distributors for your book as well as more limited expert services to get your work to standard before distribution. There\'s just as much support, but less tailoring involved with your package. 11. Matador Unlike the other full-service companies on this list, Troubador\'s Matador caters more to the UK\'s indie authors. They distribute through the traditional channels as well as POD. They are choosier about their clientele, only taking on 75% of those who would like to publish with them. Your book undergoes more scrutiny than with others on this list—this is not an everyman option. If you are one of the lucky few, you will benefit from their reputation in the publishing industry alone AND a whole host of publishing, marketing, and distribution services depending on your needs. 12. White Magic Studios Matador\'s affordable UK counterpart White Magic Studios gives you 100% of the royalties and ownership of your book. They don\'t quite have the same gravitas as others on this list but they\'re still a safe bet for an all-in-one package if you know what you\'re looking for in terms of service and distribution. The Self-Publishing Option That Works for You The ultimate, best-of-all-time, undeniable front-runner, crème de la crème of self-publishing companies happens to be the one that works best for you and your book. Do your research (work your way through this list, for example), go with your gut, and see how you get on. Self-publishing has worked for others, so it can work for you! All you need is the makings of a good book, stellar knowledge, and a can-do attitude. Other Self-Publishing Support Services Most of the self-pub companies in the list above will provide a broad range of services as part of their offering. But it\'s worth understanding the various different services that go into a full publishing package as you may, for example, want to handle a particular discipline by yourself, perhaps because it\'s more cost-effective or because you want control or simply you aren\'t happy with the quality on offer from your chosen publisher. So: Copyediting and editing These services really ought to be supplied by any serious publisher, but the quality you get will be variable. There are two (or three) separate disciplines here and you need both. First, editing (or structural editing or manuscript assessment) aims to identify weaknesses in your manuscript and offers advice on how to improve them. These issues will range from the small (eg: \"this sentence reads clumsily\") to the structural (\"The middle third of your book feels baggy and repetitive. You might want to address this by ...\"). All professional authors receive this kind of advice from their traditional publishers and their books get better as a result. You can buy this kind of editing direct from Jericho Writers: we\'re very good at it!. Secondly, you need copyediting, which is the tedious but important business of avoiding typos, spelling errors, punctuation mistakes and the like. Again, no matter how often you read your text, those errors will creep through, so an impartial and professional pair of eyes is necessary. Jericho Writers also offers copyediting help. A large traditional publisher would also employ a proofreader to sweep the text one last time before printing, to pick up any last little issues. You do need this help if you want your text to be perfect, or near-perfect, but is probably too expensive for most self-publishers. Cover design Again, your publisher should supply this service, but you can easily source covers yourself. The cheapest way to do this is to simply search \"pre made book covers\". That search term will bring up a range of sites that offer professionally designed covers being sold at a huge discount. (You\'ll think, huh? Why would pro designers sell their designs at knock-off prices? The answer is that a pro designer will usually show a client 2-3 options before settling on a particular design to get perfected. The discarded covers are then sold on these sites. There\'s nothing wrong with them; just they didn\'t match the original client\'s needs or wants.) If you want to go one step up from a premade cover then simply google \"Book cover designer\" and flip through the various choices on offer. A quality cover will cost you about $350-500 (or more). Individual designers have their own charging scale and their own way of working. We\'d advise you to find a designer whose designs work well in your genre. So a brilliant designer for urban fantasy, say, might really struggle when it comes to upmarket literary fiction and vice versa. Choose someone who has real sympathy with your material and who knows the genre conventions. Do also read our tips on commissioning a great cover design. Marketing Honestly? There are essentially no good, for-hire marketing services. Either your publishing company supplies those services or you take charge yourself. There really isn\'t an alternative ... and we do tend to recommend that you take charge yourself. Most self-pub companies do a good, or reasonable, job on editing, copyediting, interior design, cover design, and distribution to the major online retailers. But distribution is very different from marketing. And really: this is your book. Getting the word out there is your task. We recommend building a mailing list, using book promo sites, and perhaps some careful Amazon advertising as your first steps. But this is a difficult area - and you can\'t market a mediocre book, so your first step - always - is to make sure your product is excellent. Accountancy If you start to earn money from books, you\'re going to start to need to prepare accounts - not only so that you know how you\'re doing and what is or isn\'t working, but also in order to file accurate and timely tax returns. Bear in mind you will be earning income from multiple different locations worldwide, and the tax treatment of these different income streams may well vary. You will also have the ability to set your expenses off against income, but the rules here vary from jurisdiction to jurisdiction. It\'s easy to think that any major accountancy firm will handle these tasks well - but do take care. Jericho Writers used to use Blick Rothenberg for its accounts. Blick Rothenberg is a major London accountant with (we thought) a reputation for professionalism and integrity. In practice, as you can tell from our \"Blick Rothenberg - the truth\" video, we found that reputation to be wholly undeserved. Not only did the Blick Rothenberg team (including a highly experienced partner) miss a vast hole in our revenues, they also lacked the integrity to put the issue right when we called attention to their failings. Indeed, they actually had the gall to tell us they had done nothing wrong when (a) we told them we lacked confidence in the accounts being generated by our bookkeeper (b) we asked them for proper scrutiny and (c) the hole in revenues was, in some months, greater than 20% of revenues. Because Blick Rothenberg has also refused to take our dispute to arbitration, we\'re in the awful position of having (in our view) a completely valid claim for damages but not having the financial wherewithal to have that claim endorsed by a court or arbitrator. Now, OK, you\'re quite likely to have a less bad accountant working for you, but we\'d urge you to check (A) the professional competence of the firm and partner you hire and (B) ensure you have a dispute resolution mechanism as part of your contract that will actually be a viable route to take should the need arise. We failed to ensure we had the dispute resolution mechanism in our contract with Blick Rothenberg, and the result is that we experienced a six-figure loss for which the firm is simply refusing to compensate us. In short: beware. Sharks swim in every sea and in accountancy as much as anywhere.

A Writer\'s Guide to Inclusive Language Disappearing into a great book can be a transformative experience - a form of escapism and an expansion of your understanding.   When I’m diving into the world constructed by a creative author, I want to feel as though I belong in that world. Reading inclusive language is one of the ways in which all readers can feel connected to a story.   So how can you ensure you don’t exclude any of your readers and you help them feel seen?   Firstly, ask yourself this simple question…  Why Are You Writing This Particular Story? We all possess an unconscious bias, and no matter how hard we fight it those hidden prejudices can be projected on to our work. Before we begin exploring inclusive language, ask yourself these questions:   Am I writing about what I know? Is the person’s identity, socio-economic status, race, and age relevant to the plot? Is this my story to tell, or would it be better told by someone who has lived this experience?  If the answer to any of the above is ‘no’ and you still want to write this story, we strongly suggest you do your research and work with critique partners/beta readers/sensitivity readers who have lived the life you are writing. This will not only strengthen the realism of your work, but it will grant you more respect when it comes to pitching your novel to agents or editors.  As society changes, we need to remember our readers and their expectations change too. So, let’s look at how to write inclusive stories…   What is Inclusive Language? Inclusive Language Definition: Inclusion is the practice of fostering a sense of belonging, by including many perspectives, imagining a diverse audience, a multiplicity of ideals, values, and experiences. Inclusive language is how authors show that they recognise their readers, whoever they are, and that they are welcome.   Many people who belong to marginalised communities yearn to see and read about well-rounded, authentic, and diverse characters who are empowered. Characters with independent purpose in narratives, and therefore given the ability to make meaningful change.  Inclusive language isn’t just the description of appearance or using appropriate pronouns; it’s also the use of language to portray power, interest, and direction. It directly addresses the violence of racism, sexism, ageism, ableism, transphobia, islamophobia, anti-semitism, homophobia, and heteronormativity. Use of inclusive language also avoids direct discrimination, implicit and unconscious biases, and other forms of prejudice.   By practising inclusive writing, you will become highly aware of the language that has been used to communicate exclusion, bias, and hate. In order to appeal to ever-evolving audiences, it’s vital to be aware of out of date language, words, and descriptions, as well as those that have always been intended to cause offense.   Why Use Inclusive Language?  Inclusive language is important because it means you are thinking about your most vulnerable and marginalised readers. It’s important for us all to identify where our writing style inadvertently includes out-dated, offensive terms and work toward eliminating these – because we can’t expect our readers to sift through our work to find the good stuff.   So many people experience the world through the writing of others, whether it’s in museum text, film, TV, literature; representation matters to everyone. Limited representations and stereotypes of people in our society does not just harm those who are misrepresented or erased, it harms all whose imagination is limited and keeps their worldview small.   What Does Inclusive Language Look Like? Power and agency are vital when considering your diverse characters. They must have autonomous, developed identities (so not just sidekicks or plot devices) who participate actively in the story and world.  As experiences of marginalisation and exclusion differ across identities here are a few ideas and examples to consider for your writing. Parents and Pregnancy For many authors creating character profiles is a useful starting point when developing family dynamics.   When writing inclusively you should be aware of:  Hetronormative family structures. Heterosexual romantic relationship(s) don’t have to be central to the familial history and structure.  Gender norms as affecting roles taken by parental figures (the mother doesn’t have to do all the cooking, the father doesn’t have to be great at DIY). Assumptions of the nuclear family with two parents and one or more child. These erase polyamorous and blended families and is a western ideal that doesn\'t often include grandparents, aunts, uncles, cousins, and multi-generational households as the core familial structure.  Language matters – use toughen up instead of man up, homemaker instead of housewife, husband and wife instead of man and wife.  This doesn’t mean you can’t have a family that is made up of a married female mum, male dad, and 2.4 kids – it simply means that society doesn’t only look that way. It’s important to reflect reality in your work, as long as it doesn’t feel forced, gratuitous, or irrelevant.  A book that explored the idea of family in an inclusive way is Candice Carty-Williams’s 2019 novel Queenie. The titular character’s family is central to her narrative and their history unfolds throughout the story with the family dynamic driving the narrative. Queenie’s family is her grandmother, grandfather, her aunt, cousin and her mother; as well as the family she creates in her ‘corgis’. The relationships feel authentic and complex - their dynamic is a natural part of the texture of the world.   Gender and Sexual Orientation It’s essential to use inclusive language when exploring gender experiences as well as experiences of sexuality across the spectrum of the LGBTQIA+ communities.   This acronym is used to capture a wide spectrum of experiences, not just those of the lesbian, gay, bisexual, and transgender communities. The first three letters (LGB) refer to sexual orientation. The \'T\' refers to transgender, and so to gender identity. The “Q” stands for Questioning or Queer, the “I” for Intersexual and the “A” for Asexual.   Regardless of your own sexual preferences, remember the world is made up of many people with many different outlooks and lifestyles.  This also applies to unconscious bias when it comes to gender roles and what it means to be ‘male’ or ‘female’. Think about non-sexist language such as:   Gender binaries and gender-neutral language (the idea that you have to be either male or female). Framing around gendered appearances (e.g. describing someone as girlie or a tom boy).The effects of patriarchal assumptions that make it seem necessary to use ‘female’ as an adjective with professions that have assumptions of a male standard e.g. doctor or scientist. Toxic masculinity that equates being a man to being tough and unemotional - and femininity to being submissive and sexualized or viewed with the male gaze to satisfy unrealistic fantasies.   Language matters - use gay instead of homo, sexual preference instead of sexuality, trans person instead of transvestite, humankind instead of mankind.  The Vanishing Half by Brit Bennett discusses gender (and race) in an intimate manner. Reese and Jude’s relationship unfolds as a sweet experience of connection and insecurity of two marginalised people. Reese’s identity as a trans man is established early and his pronouns established and used consistently then on, with none of the narrative based on speculating on his gender. In fact it is society’s gender assumptions that become absurd, and painful when viewed from the perspective of a couple that sit outside of this. Social Inclusion Poverty and social exclusion are often overlooked when writing inclusively. The language used to refer to people of low socioeconomic status can strengthen negative stereotypes upheld by society, without exploring the systemic inequalities that create poverty and social exclusion in the first place.   Things to keep in mind:  Consider talking about people’s socio-economic status rather than class.  Describing people as survivors rather than victims addresses the idea of agency and power inherent in inclusive writing.Describing people as poor or areas as ghettos, is offensive and dismissive, assigning value only to financial and material assets.   In fact, if you show (not tell) your reader what your characters\' lives are like you won’t need to refer to the words poor, low class, or slums.  Trevor Noah’s Born a Crime: Stories from a South African Childhood describes the reality of living in a community that had been ghettoised by systematic exclusion and discrimination in Apartheid South Africa. The characters in his narrative are interesting and complex, not limited by stereotypical victim narratives, simply people who have to live in an excluded society. Disability When writing about the experience of disabilities it’s important to acknowledge the vastness of what is understood as a disability. As mentioned previously, if disability is not your lived experience, then work with those who can advise you.    Things to consider:  Assumptions about what a disability looks like can result in invisible illnesses and mental health conditions being treated with scepticism and mistrust.  Framing of disability as something strange encourages tropes of disabled villains. Such as where disfigurement and scarring are used to signal wickedness (the James Bond franchise has been under fire for this recently); or mental health or childhood trauma is used to create a backstory that explains violent characteristics. These are dangerous and hurtful tropes with real-life impact.   The ‘othering’ of disabilities detaches these experiences from our understanding of ‘normal’ experiences in society and supports social exclusion - despite the fact that 15% of the world’s population openly identifies as having a disability.   Language matters - wheelchair bound implies a wheelchair traps its user, whereas wheelchair user articulates that their mobility aid provides freedom and greater access to its user.  With mental health, the words mental, crazy, unhinged, unpredictable etc are biased and harmful (unless purposely used in dialogue to represent a character’s own views). Describe their characteristics without using words that are biased and rooted in ridicule or fear.  Audre Lorde’s The Cancer Journals explores the nuance of dealing will long-term illness and disability, along with Black feminist theory, delivered through poetry and essays.   Race and Ethnicity Race is a social construct, but racism is a reality that affects us all.   Ethnic diversity is often what people refer to when discussing racial differences; ethnicity is a mix of inherited features and shared cultures. It’s distinct from nationality, which is a legal status that assigns a person to the laws of a state or nation, as well as affords them protection by this state.   Many readers will have, at some point, read ‘classic’ narratives with no ethnic diversity, or tokenistic and stereotypical representations (for instance, the language used in the much-loved classic, The Secret Garden, would not be acceptable today).   When considering ethnicity in characters, remember it’s not always vital to describe the skin colour or nationality of your character through physical descriptions (you can allude to heritage via their name or setting, or simply let readers decide what they look like).   If you must describe them, consider:  Our world is ethnically diverse, so your literary worlds should be thoughtfully described without dipping in to fetishized language focusing on features in an overt and uncomfortable way. When describing someone there’s no need to isolate body parts like lips or genitals, or describe skin tones using food.   The Diversity Guide is a great source of reference for inclusive language examples.  Language matters - use uppercase ‘B’ in the word ‘Black’ when referring to race, ethnicity or cultural background, and lower case for the colour ‘black’.   An excellent example of inclusive writing around ethnicity is N. K. Jemisin’s Broken Earth Trilogy. Though set in a fantasy world where racial identities do not correlate to our own, the character’s physical descriptions are detailed and rich enough that readers experience a varied cast of characters that are ethnically diverse, nuanced, and relatable.   Age I will end by exploring writing inclusively about age, which is essential as all our identities are filtered by age. For instance, referencing age can provide a restrictive lens that may ascribe ignorance and beauty to youth, and cynicism and wisdom to the elderly.  Ageism affects people regardless of how old they are. Consider these intersections to help challenge stereotypes:  Ageism with gender assumptions, around pregnancy and desires for pregnancy. Is every woman over thirty desperate for children?Ageism combined with racism brings forth particular stereotypes and harmful assumptions (e.g. Black youths vs Black elders).  Ageism combined with disability can bring to light an array of pre-conceived prejudice. The erasure of LGBTQIA+ elders support an idea that these communities are new in society without longevity and legacy.  Language matters – although the terms old fart, little old lady, bitter old man and old hag are often used in jest, they are still insulting (unless they’re included in a character’s dialogue to reflect their own bias).   For a great example of how to change a reader’s perception of age, Jonas Jonasson’s novel, The 100 Year-Old Man Who Climbed Out the Window and Disappeared, is a refreshing narrative from the perspective of an older protagonist that actively challenges the limited expectations of older characters, instead highlighting how all the experiences of his life created accumulated knowledge and perspectives that furthered his narrative and creative possibilities. Evolution of Language Bear in mind that movements to reclaim language that’s historically been used to offend, by those who these words were used against, is rising.   Exploration around ‘crip culture’ reclaiming the word ‘cripple,’ or movements within the LGBT+ communities to reclaim the term ‘queer,’ are very interesting elements of inclusive practice that explore the complexity of power and positionality.   However, these remain problematic for most writers unless they have lived that experience and have a very good reason to use self-deprecating language.  The reclaimed language, among other debates and advocacies based on marginalised people telling their own stories, can and should be explored further by following the #OwnVoices hashtag (created by author Corinne Duyvis). Other related community discussions and campaigns, such as the We Need Diverse Books campaign, are worth researching.   But please, don’t ask someone else to educate you. If you want to run ideas past someone, hire (that means pay) a sensitivity reader.  Champion Inclusivity If your intention is to create a greater sense of belonging, a richer and more complicated world that feels relevant with open possibilities, then it is always worth expanding your practice and considering the impact of the words you choose and the inclusivity of your text. We don’t always get it right, but it’s important to try.  Because I believe there’s a reflexive relationship between inclusive language and inclusive society. As writers it’s our job to be aware of exclusions in society, to consider the agency in the characters we create, and to help move the world forward through the literary worlds we build.   And remember, if all of this appears to be too difficult or unnecessary – maybe your story isn’t yours to tell. Draw from your own experiences. Bring your readers into your world, and in turn help them feel seen. 

Take Advantage of the Growing Audio Market You’ve taken the plunge into self-publishing, and now you’re considering creating an audiobook. You’ve heard that audiobooks are a good business opportunity, but how do you go about making one?  In this article, we’ll explain the possible approaches to creating an audiobook, along with their pros and cons. After reading, you’ll be able to make an informed plan and starting working toward your first audiobook release.  Why Make an Audiobook? Audiobook sales are soaring in English-speaking markets—and it’s not just because of lockdowns in 2020. In fact, audiobooks have experienced eight straight years of double-digit growth. In the US alone, the audiobook publishing market has grown to encompass $1,100,000,000 of revenue as of 2021.  Clearly, there is a hunger for audiobooks. And it makes sense: they fill gaps in our daily routine that printed books and e-books don’t, such as when we’re travelling, exercising, or preparing food. Plus, most people already own a mobile device capable of playing audiobooks: a smartphone.  Some authors are concerned that audiobooks will steal sales from their other formats. At a market-wide level, across-the-board growth in print sales and ongoing strong e-book sales suggest this isn’t happening. Plus, more than half of audiobook listeners say they make “new time” for audiobooks and read more books overall as a result, while other readers credit audiobooks with helping them rediscover their love for reading.  In short, the business case for audiobooks is strong: added sales today, plus excellent year-over-year growth facilitated by a widely-adopted technology.  Best Audiobook Genres Be forewarned, not all genres work well as audiobooks:  A book that is intended specifically as a visual experience, such as a coffee-table photography book, obviously doesn’t make sense as an audiobook. A book that relies on diagrams, graphs, or images to convey key information won’t work as-is, although it may be possible to adapt it. Ask yourself whether the images in your book could be converted into short spoken passages that convey the same information. (For example, a diagram showing how to dress a turkey before roasting is helpful but could easily be narrated instead. Meanwhile, a map showing alternate routes between several towns, plus nearby landmarks, would be difficult to narrate in any useful way.)  Reference books typically don’t work as audiobooks, because of the need either to search for particular words or to jump between sections easily.  However, any book that’s primarily running text, whether fiction or non-fiction, will likely work well as an audiobook. Some of the top audiobook genres, based on today’s sales charts, include:  Mystery/thriller/suspense  Self-help and self-improvement  Business & Personal Finance  Science fiction and fantasy  Popular science  History  Romance  You may also have heard that autobiographies and memoirs do well as audiobooks. By the numbers, that’s true, but much like print and e-book editions, you need either a pre-existing “name” and platform or an excellent marketing campaign to perform well in these genres.  How to Create an Audiobook The core of creating an audiobook is recording and editing the narration. You’ll also need to prepare the Whether creating your audiobook yourself or hiring professionals to do it, the core of the work will be recording and editing the narration. Lesser (but equally necessary) tasks include preparing the script, commissioning a cover design, mastering the edited recording, and uploading the package to a distributor. Let’s take a look at what some of these terms mean, and then we’ll explore two approaches you can take to getting the work done—working with a company that can support you, or doing it yourself. Narration Narrating an audiobook is more than just “reading out loud”. The narrator needs to achieve an error-free performance, which is a challenge compared to speaking casually, where we make a surprising number of errors. Another challenge is that an untrained voice will begin to sound rough after 30-60 minutes of constant talking. (If you have public speaking experience, none of this is news to you!) The average person speaks at a rate of 120-150 words per minute. This might seem to indicate that someone can record a 70,000-word novel in 10 hours, but a more realistic estimate would be 20-30 hours, depending on experience. Bad takes, interruptions, and preparation time all inevitably add to the total. Recording, Editing, and Mastering The job of the recording engineer is to set up a suitable recording environment and, using specialized hardware and software, to capture the performance into a digital file. After recording comes editing, which involves choosing the best takes, marking any passages that need re-recording, and “cleaning” the audio of defects such as pops and clicks. This process is laborious and can take three-to-four hours of work per finished hour of audio, depending on experience and the quality of the initial recording. (Note, this means that narration and editing together require five-to-seven hours per finished hour of audio!) After editing comes mastering. This is where an edited recording is adjusted so that the volume is even throughout, with no sudden jumps. The tone will also be balanced, so that the final result sounds good on all types of speakers and headphones and won’t fatigue the listener’s ears. Cover Design Audiobooks use square cover images. If your book has already been published in print or ebook format, it may be possible to adapt your existing cover, or you may have received an audiobook format cover as part of a package you paid for. Otherwise, you’ll need to commission a new design.  Assembly and Uploading When all of your final files are created, you’ll need to assemble them and upload to your distributor. You’ll need to make sure that what you upload meets the distributor’s specifications and requirements. (Be sure to check these requirements before you begin the recording step!)  So, now that you have some understanding of how to create an audiobook, what’s the best approach to use? There are two broad audiobook creation options, one costing mostly money, the other costing mostly time.  Approach One: Use Professionals Using a professional narrator and audio engineer(s) allows you to spend less of your own time on your audiobook, and receive a reliable, high-quality result—but the investment is significant, often $2000US or more. The two most common ways to hire professionals are by using a marketplace, or by dealing with a specialist audiobook company.  Marketplaces A marketplace is a service that connects you with a variety of professional talent, allowing you to review samples, see prices, and choose the narrator you prefer. Two popular marketplaces for audiobook production are Findaway Voices and ACX. (The two sites work somewhat differently and offer different business terms. You should explore both to see which best fits your needs.)  The voice actor you hire will handle the recording process and deliver the final recording to you. Contract terms may be either a one-time fee, or a royalty-sharing agreement that delivers a percentage of each sale to the voice actor.  Specialist Companies If you prefer an approach that’s even more hands-off, you can hire a company that specializes in recording audiobooks. The advantage of these companies is their integrated approach: because they specialize in recording audio, they’ll typically have a dedicated high-quality studio, a staff of experienced professionals, and a well-defined production process that produces reliable results. On the downside, they may have a smaller or more expensive roster of voice talent. Expect to receive an all-in-one quote and delivery of a complete (edited and mastered) audiobook.  If you need to minimize the time you put into audiobook production—for example, if you have an established writing routine and don’t want to disrupt it—or, if you really don’t want to handle the creative direction or price negotiations, using a specialist company could be a good option for you.  Approach Two: Do It Yourself If your preference is to spend less money, but invest more time and effort, then the do-it-yourself approach may be best. Be forewarned that narration, recording, and editing all take practice. And no, DIY isn’t cost-free—particularly not the first time.  Recording your own audiobook gives you a very intimate connection to the final product, and if you do a high-quality job, it can give your readers a special connection to you. Plus, reading your script out loud can improve your writing, particularly (if you write fiction) your dialogue.  Essential Equipment You’ll need to acquire some essential equipment for recording audiobooks:  A high-quality vocal microphone. This is a purchase you can’t avoid and shouldn’t skimp on. (Expect to spend around $60US minimum.)  A “pop guard” or “pop shield”, which is a small barrier of nylon or metal mesh which blocks bursts of air from B and P sounds that can ruin your recording.  Depending on the acoustics of your recording space, you may also need an isolation box—a small, padded cube that surrounds your microphone on all sides but the front, blocking unwanted reflections from nearby walls and surfaces.   You’ll also need a computer with recording and editing software to create audiobooks. There are free options that will work just fine, though professional software often has features that can save time.  Note that if you live in a space where there’s constant noise (such as an apartment above a busy street), it’s unlikely you’ll be able to prepare this space for recording without a significant investment in soundproofing. In this situation, hiring professionals to record your audiobook may not cost any more than doing it yourself.  Technique A complete how-to is beyond the scope of this article, but expect to learn and practice the following to record your own audiobook:  How to use your recording and editing software, and how the various audiobook formats work.  How to warm up your voice before recording, and things to avoid before a recording session.  How to schedule your recording and editing sessions to avoid vocal, auditory, and mental fatigue. (The twenty-ninth hour of recording and re-recording your novel can test your endurance in ways you didn’t know were possible!)  How to ensure recordings made on different days have the same tone.  Because of this learning curve, you might consider creating a short or free excerpt as your first audio release. Much like writing a short story before you dive into a complete novel, this will give you a low-risk opportunity to work out the kinks in your process. You’ll also get useful feedback from your dedicated readers: if they tell you the quality isn’t good enough, you have a chance to recalibrate before recording the full book. (And if they tell you it sounds amazing, that can give you the reassurance to forge ahead!)  You should also consider the possibility of hiring a professional to master your final recording. Much like a manuscript editor, their outside perspective can give much-needed objectivity. Plus, if you arrange to send them your first chapter for review, they can warn you of any serious problems before you record any more. Creating a partnership with a professional audio engineer can be a great way to ensure a high-quality result for your self-recorded audiobook.  Do Your Research and Be Heard As you can see, there’s a lot of flexibility in how you go about creating your audiobook. You can choose to spend time or spend money, and to forge long-term creative partnerships or to outsource for minimal distraction.  Importantly, if your budget is tight, you don’t need to feel shut out of the growing audiobook market. With diligence, you can produce a quality audiobook your listeners will love. 

Given the choice, would you rather see your name on the cover of an ebook or a paper book? Would you rather see your name in pixels or in print? Would you rather hold an amorphous concept of your book, cached away in an ebook reader or the actual physical object, you know, the one that allows you to feel the weight of your words?   Okay! I’m aware that I’m asking increasingly leading questions. Nor do I want to disparage ebooks as an effective route into self-publishing. But there’s still a romance and joy to seeing your words on an actual page. Not to mention the practical advantages of having something you can press into someone else’s hands, and even (if you’re feeling expansive) autograph for them.  Why Get Your Book Printed? There are some big names that, as a self-published author, you may choose to publish under who will print and distribute for you. They tend to take a hefty cut from the sale price for themselves but do cover a large percentage of the hassle. Plus their print-on-demand service means you can have your book in your hands in a matter of days.   But what if you want to go at it alone and retain full control?  As a self-published author, the advantages of printing a book are clear. Although there are also obvious disadvantages. Most notably, while it doesn’t take too long for those self-publishing to find out how to create a decent and marketable ebook, book printing is a tougher and opaquer proposition.   There are several potential pitfalls and many important questions to answer before you can proceed with confidence. This article will give you the guidance you need to help you choose the best printing services.  What Are Book Printing Services? Perhaps the easiest way to describe book printing services is to explain what they are not. They are not publishers. They do not (generally) offer the kind of distribution and marketing services you would expect from a conventional publisher, and they do not (generally, again) offer editorial advice. At the most fundamental level, a book printer’s job is to take your finished digital manuscript and turn it into a print copy.   That may sound straightforward, but the more you look into custom book printing the more questions you are likely to have. But before we get onto those, let’s answer a few basics.   Many (if not, most) self-published authors opt to print their books via Amazon. Their KDP service ensures distribution of ebooks, along with paperback and, more recently, even hardback options! Although they take a hefty cut from the sale price for themselves, it does cover a large percentage of the hassle and their print-on-demand service means you can have your book in your hands in a matter of days.   But some authors want more control – and more profit. A lot of what you decide to do will depend on the kind of printing you go for. There are two main methods of paperback and hardback book printing: print on demand and offset printing.   Let’s take a quick look at those: Print On Demand Book Printing As the name suggests, print on demand book printing is a form of printing where a book is produced once it has been ordered. Digital book printing technology enables printers to produce books in the exact quantity required with a rapid turnaround so that a customer can order a book on a website, or from a bookshop, and expect to have it within days.   It’s particularly useful for self-published book printing. It means you don’t need to worry about storage because you have no inventory. Printers are able to do single book printing, or many print several on demand books at once, depending on the orders that come in. On demand book printing services are also often integrated with sales and distribution channels, meaning your book is generally only a few clicks away from your potential readers. Importantly, there are also fewer upfront costs because once the files are loaded onto the printer’s system, the individual production cost for each book is absorbed at the point of sale. (Which is to say, the book printing cost is deducted from the sale price and you and the store get the remainder.) The most well known and reliable Print on Demand services are IngramSpark and KDP via Amazon. Let\'s look into each of these options more closely. IngramSpark IngramSpark is a service that allows authors to self-publish print books and ebooks. There is lots of information on their website in order to learn more about self-publishing, help you choose the best printing option for your book, and how to create files for uploading your book. The costs of uploading a book with IngramSpark: Print and Ebook - $49 (when uploaded at the same time) Print book only - $49/title Ebook only - $25/title They even have an option for you to see how much you will pay to print and ship orders directly to yourself or customers, based on the specifications of your book. This money will come out of the money earnt on the sold books, so consider this when pricing your book. With global distribution, hardcover and/or paperback, a variety of print options, ebook and print book publishing all in one place, and online sales reporting, this is an excellent option for self-publishing authors. If you want to sell hard-copy books through every channel, then most authors prefer IngramSparks as they distribute to over 40,000 retailers and libraries globally, including Amazon. Amazon Kindle Direct Publishing (KDP) KDP is Amazon\'s self-publishing and printing service, allowing authors to self-publish Ebooks, paperbacks, and hardbacks. They give you direct access to your book on Amazon, allow you to create a product detail page for your book, give you the option to expand your book’s availability on a global scale, and gives you full rights to your book The cost of printing with KDP: Paperback - No upfront costs. KDP prints your book on demand and subtracts your printing costs from your royalties. Paperback printing costs are calculated based on the specifications of your book - page count and ink type - and which Amazon marketplace the customer bought your book from. You can estimate this using their calculator. Hardback - No upfront costs. KDP prints your book on demand and subtracts your printing costs from your royalties. Hardback will automatically be more expensive than paperback to print, but the printing costs are calculated in the same way, factoring in page count, ink type, and which Amazon marketplace the customer bought your book from. You can estimate this using their calculator. Authors earn money from royalties, and KDP has a minimum list price so that your royalties earned are always enough to cover the cost to print your book. This means that you don\'t need to part with any money. KDP also offers different types of sales reports, so you can track how many books you have sold, how much you have earnt from it, and much more. As KDP only allows you to sell on Amazon it is not ideal for authors wanting to sell on multiple platforms, but if you’re selling exclusively on Amazon, then this service would be perfect for you. Disadvantages of Print on Demand Most self-published authors find that this kind of custom book printing works best for them. But there are some disadvantages. Digital technology has improved a lot over the past few years, but it’s still much harder to guarantee good quality book production with print on demand. The differences are often small, but noticeable: the paper can look too bright white, the definition of the ink on the pages can be wrong, the pages can feel weirdly smooth, a few books come out that aren’t properly aligned. There’s also the issue that if you start selling in big quantities, for instance, it can make sense to move to offset printing since the unit costs are generally lower.   Let’s look at that now.  Offset Book Printing Offset book printing is the form of printing that traditional publishers generally use, whereby you order a set quantity of books - ranging from the low hundreds to hundreds of thousands. These are all produced at once, in one print run and the more you print, the more the unit cost comes down.   These savings on book printing prices can be significant, but you have to balance them against the potential problems relating to storing and distributing the books, fluctuations in demand over time and the horror of paying a lot of money upfront and not being able to shift enough units to cover your costs.   Offset printing can make sense for self-publishers who have a shop eager to buy large quantities of their work. It might also be a good solution for people who have a steady book-selling outlet, like public speakers who can make a tidy income from bookstalls at the back of the room or at events.   But most self-publishers should approach it with caution.  How To Choose The Right Book Printing Service Talking of caution, it isn’t altogether easy to choose the best book printing services. There are a lot of different online book printing services.  It’s hard to make the right choice and to know how to protect both your hard-earned money and the quality of the book bearing your name.   There are, however, several useful things you can consider when weighing up your options. It’s important to give serious thought to which service provider will work best for you. Don’t rush into anything. Do make sure you’ve done your research. And, crucially, ask the right questions.  What Should I Be Asking? The first question you’ll probably be asking will be about the book printing cost and various book printing services. But there are plenty of other things to ask. You will need to know what is the turnaround time? What kind of binding will work for your book? (Hardback? Paperback? Or maybe even spiral or wired binding?) What kind of paper will it be printed on? How much do you want to spend on paper quality? Will the cover be on good paper stock? Will the images be printed at the right resolution? Do I need a matt or gloss finish? How much control do I have over the size of the pages and layout? What file format should I use? Where does the paper come from? Is it responsibly sourced? What other environmental impacts will the printing have?   You may also want to consider if you want to use the services of a printer experienced in the genre of book you have written. Do you need a printing service that provides integrated sales and distribution? What level of interaction and customer service do they need from the printers?   The tricky thing here is that many of these questions quickly start to have very technical answers. You might soon discover, for instance, that you’ll also need to employ a professional typesetter to get your words looking good on the page. You might also need a cover designer who can properly discuss ink colours, embossing and different finishes with the printers.   Worse still, since this is your book, and your project, there are perhaps also quite a few questions that only you can properly answer. And then, there are also the restrictions of your budget and the returns you hope to get back from your book. I understand the desire to have a book printed on vellum and bound with leather - but it isn’t generally the most practical option, unless you’re going for a very special kind of one-off book printing.  Evaluating Book Printing Services I’m aware that I’ve given you a lot of questions and not quite as many answers. But these questions are the ones that will help you narrow down your choices.   The important things to think about are how well your prospective printer will be able to handle your queries and how well they will be able to produce the finished book according to the specifications you give them.  It’s also vital to thoroughly evaluate book printing services before making a commitment. Look at plenty of examples of books previously printed. If you can, order copies so you can see the finished item. Examine the services printing rates/costs per unit. It’s also a good idea to ask other authors about the service and check on writer forums for good tips. (Naturally, we recommend our Jericho Writers Townhouse).   The world of book printing online and on demand publishing is also fast-changing, so check how long your printer has been operating and make sure they have a decent reputation for delivery and quality. Also, remember that you’re the customer and most printers will want to help you and answer your queries so put your questions to them.   Do they provide sales and distribution?   What is their turnaround time?   Do they do hardback as well as paperback book printing?   The answers to the queries you make will also help you gauge the other crucial question about what level of customer service your printer provides. If they’re good at helping you, they’ll also hopefully be good at bringing your book into the world.  Finally… After all that, I hope you still want to see your name on the cover of a paper book. I can’t pretend that it’s an easy process. You have to be very aware of costs, quality and the importance of making sure that your chosen service can meet your specifications.   But the joy of holding a beautiful copy of your own book in your hands will make it worth the hard work. It’s a happiness all writers deserve. 

Many an author, struggling to balance writing with the constant pressure of having to be visible online, often finds themselves asking – ‘But do I really need social media?’  Let’s take a look.   Do Authors Need Social Media? Yes and no. If the thought of spending time online trying to engage with strangers in the hope they might buy your book is distressing in any way, then the simple answer is don’t do it. My agent has never asked me if I have a social media presence, and neither has my editor. Social media takes time, effort and planning – it’s not something we all have the time or inclination for.   However, it’s worth noting that while the UK industry doesn’t currently seem to mind too much what you do or don’t do online, this isn’t always the case in other parts of the world and the goalposts are always changing.  A strong social media presence is beneficial in many ways – especially if you’re an aspiring writer or an independent author. Without the marketing clout of a publisher, social media is the cheapest (well, free) way for you to be seen. Remember that your potential readers are likely to have at least one social media account to their name, if not several. Developing an author brand and connecting with your audience can massively boost your profile and get your books where you want them – in the hands and under the noses of readers and industry decision-makers. This article isn’t a deep dive into the intricacies and algorithm theories of each social media platform. Feel free to research this once you decide to make the leap into the mire of author social media. This article is less of a how-to….and more of a why-to, when it comes to social media. This may sound rather intimidating for a beginner but don’t panic, here are some tips on social media marketing for authors. Social Media Platforms For Writers Rule number one: know your audience.  The number of platforms you can use might seem dizzying, but you don’t need all of them. Social media professionals always say to focus on one or two. Ask yourself - Who will most likely read my books? Which social media platforms are they more likely to use? It might be worth looking at your comparative book titles before you start investigating. For instance, how do your favourite authors in your genre use their social media? Let’s look further at some of the more popular platforms and look at how different authors are utilising them to their benefit.  Facebook Did you know 66% of the UK population is on Facebook? That’s a lot of potential readers meaning it’s a popular platform for writers of certain genres. Currently, the biggest expansion in regular users is coming from the 65+ age group, with younger users dropping off. Although it’s still the most popular platform in the world and (especially for genres catering to over 30s and parents) it’s a great way to connect with potential readers. Before you consider creating your own author page, take a look at some of the reading groups that already exist and join as a reader (most of them won’t let you promote your own books, but occasionally they have exceptions). Crime novels are extremely well represented on Facebook – the UK Crime Book Club alone has 20,000 members. Being present in groups like this and interacting on posts by readers is a small but effective way to raise your profile (and you’ll find loads of other great books to read too!). One author who is great on Facebook is Clare Mackintosh, who runs her own monthly book club group. It has 8,000 members, and people post recommendations and requests daily for new reads. Clare is very active in the group, often commenting and starting discussions as well as running the monthly ‘readalong’. She also offers various promotions and sneak peeks which are very popular.   If you aren’t too keen, just a simple page where you share your news is fine – you can have a look at mine if you like. I don’t use Facebook a lot, but it’s useful for having a foothold that I can amp up later or use as a base for future advertising. It also keeps a nice record of various reviews and things to look back on and allows people to tag you in relevant posts. Or irrelevant ones – it happens!  Twitter Twitter is a popular social network for writers as it’s instant and in real time and focuses on short, succinct posts (though always add a picture if you can – they get 150% more engagement!) I find Twitter to be the simplest of all platforms to use - easy snippets, easy shares, easy interaction. This is where you’ll find your 30-49 year olds and is the most popular platform for male users; 68% according to these demographics. You can find your people on Twitter by following other authors in your genre and checking what they’re up to, and by searching hashtags like #writingcommunity. If you’re lucky you may even go viral, which (although no guarantee of increasing sales) it certainly gets you lots of exposure and often media picks up on viral trends and posts. Regardless, you\'ll benefit from being part of a social network for writers within these smaller Twitter communities. It’s worth remembering that Twitter is a good place for your readers to get to know a bit more about you as a person aside from your writing. So don’t just share promotions, write about other things too. What are you reading? What is your writing process like? Hear any good advice recently? Ask questions, and don’t forget to interact with other people’s posts.  One of my favourite authors to follow on Twitter is Margaret Atwood. I like how she engages with her fans online by retweeting articles, promoting things she’s up to and even responding to fellow writers about her creative process. She ‘liked’ one of my tweets once and I nearly expired. Instagram Instagram is where you’ll find more women hanging out, and your slightly younger audience – 70% of users are under 35. Although that doesn’t mean us oldies can’t enjoy it – I love Instagram. You can use it to post pictures of yourself or your books, or anything really, and use hashtags to make your posts easier to find.  Instagram is absolutely stuffed with book reviewers. They’re an amazing community to get involved with and can help get a real buzz going about your work. It’s not just about the pretty pictures – I rarely post on my ‘grid’ – it’s the ‘Instagram stories’ that work for me, and for lots of other authors too. One of my current favourites to follow is Elodie Harper, author of Wolf Den, a novel set in Pompeii, pre-eruption. She often shares beautiful mosaics and art from the period, giving a wonderful taste of the time and the basis of her inspiration in her stories. TikTok Getting involved with ‘BookTok’ (ie book lovers on Tik Tok) is becoming a truly inspired way to reach the youngest of social media users. If you’re writing YA or older MG, get yourself on there! Tik-Tok is the fastest growing platform in the world and the most used – one hour per day on average – with more than a billion users. There are already lots of authors paving the way on TikTok – one to follow is Victoria Aveyard, author of the Red Queen series. She shares all sorts, from insights into the publishing world, how to structure novels, to killing your darlings. She’s also really funny, which always helps. Social media isn’t always about self-promotion, though. You can always follow just for fun, and BookTok really is just that – fun. It’s also a great way for an author to relax and procrastinate productively! Other Social Platforms While we’ve listed the main contenders, there are other platforms that might suit you and your needs more.   Pinterest Pinterest is the corkboard of the internet, full of tips and how-to’s on any subject you can imagine. Try searching up a topic you’re interested in and have fun ‘pinning’ all the articles to read later – you might even want to write and share your own! Many authors use social media platforms like Pinterest to create secret inspiration boards for their novels, and it’s a great way to link blogs to your website to pretty images. One of the good things about Pinterest is you don’t actually have to talk to anyone… YouTube YouTube is the platform for the hardcore videographer. Alexa Donne is a powerhouse – check out her videos for pretty much everything you need to know about anything ever.   LinkedIn LinkedIn is where you wear your suit. Professional profiles for connecting with other writers on a more business-level – basically an interactive online CV. Great for connecting with industry professionals too. Goodreads Goodreads…never mind. Probably best that no author goes on there unless they have a thick skin. But in all seriousness, many find it a great site on which to log their own reading progress, run book giveaways, and gauge the reaction to their books before they are published. Social Media Advertising All the stuff we’ve talked about so far is completely free. However, you can pay to harness the power that is the social media behemoth. Facebook and Instagram both offer paid advertising opportunities which can be very successful but do your research first! Learn how to set up audiences for your ad and how to clone audiences that other ads use. It’s much easier than staring at the back end of your ad and crying because no one is clicking through, believe me. There’s lots to consider but get it right and you’re on your way, because Facebook still remains the most targeted form of affordable advertising out there.  How To Interact With Your Audience Social media lets you directly interact with your audience. This can be amazing, but also a little scary. Here are a few tips on getting it right:  The Three E’s You might be asking yourself - ‘What the hell do I write about now I’m here?’   A rule of thumb is the three E’s: when writing a post make it either Entertaining, Engaging or Educational. Or all three if you’re clever. People want to be entertained, they want to be part of things, and they want to learn (usually).   Community Matters Basically, your vibe finds your tribe. Cultivate your community so it’s full of the people you want, preferably ones you admire and care about. For instance, there’s absolutely no reason why Twitter need be a stressful place for you if the only people you follow are those posting about books, cats, and baking!  You already know how to talk to the people important to you, so simply treat the people who now live in your phone/laptop the same way. These are the people whose feedback and opinion matters. If they like your posts, they might buy your book. If they like you too, they might tell other people to buy your book as well.   Find Other Authors One of the biggest draws to social media (especially Facebook, Instagram and Twitter) is how vital it is for finding other writers and building your own support network. There are legions of fellow writers all over the internet, on all the platforms, in all guises, at all stages of their careers. They are your people – go find them. Talk to them, ask them questions. Join groups and chats and hashtags. Writing can be a lonely occupation, but it doesn’t have to be.  The wonderful thing about the #WritingCommunity on Twitter, especially, is that everyone is just as lost as you. Don’t be shy to create a page and then post along the lines of ‘Hi, I’m new to the writing world. I’m looking to follow and chat to other writers of xyz.’ Or ask for critique partners or beta readers. You’ll be surprised how many like-minded (and just as lost) writers jump at the chance to be part of your squad.   Share New Writing Projects There’s nothing quite as exciting to an avid reader as a teaser for what you’re writing next. How are you getting on? Are you editing yet? Can we read some, pleeeease? You get the picture.  Demonstrate Audience Appreciation An author who clearly appreciates their audience is a popular one. You can demonstrate this by offering exclusive content to your advocates, by including them in discussions, and by sharing their content as well as your own. Some authors even run fun giveaways, such as ‘Follow me and you may be picked to have your name appear as a character in my next novel.’ Include your audience in inventive and engaging ways!  So, Is Social Media Useful For Authors? Undeniably, yes! Social media is very useful for authors who want to create communities, find their audience and showcase their work. There’s no direct evidence that it will increase your sales, but it WILL create positive PR and get you exposure, which all helps.  So get out there, have a quiet little chat or TikTok dance your way into the hearts of your readers. However you choose to use social media, make sure it works for you and you have fun! 

Are you a writer, daunted by querying, trying to snag both an agent and a traditional publishing contract? Are you concerned about your lack time or expertise to completely self-publish? If this applies to you, please keep reading this guide, which explores a lesser-known alternative: hybrid publishing.  What Is Hybrid Publishing? Hybrid publishing models blend together traditional publishing and self-publishing. Let’s compare all three publication avenues to help you better understand the positives and limitations of hybrid publishing. You\'ll determine if hybrid publishing is a viable option for you.   Differences Between Traditional Publishers, Self-Publishing, And Hybrid Publishers Traditional Publishers  Obtaining a traditional publishing contract usually means you must query multiple literary agents to find one who believes your work can be sold to a traditional publishing house. Most traditional publishing houses (often referred to in the industry as ‘trad publishers’) only negotiate with agented authors. The agent will attempt, on the writer’s (your) behalf, to sell the writer’s work to a trad house, and obtain a book deal for the writer. Once a deal is secured, you sign a contract with the trad house. This is a significant risk and investment for the publisher.   What Do They Offer? Trad houses cover the entirety of publication costs and assume primary responsibility to sell and market the book. They provide authors an advance for their intellectual property, prior to publication. The “catch” is that the advance isn’t considered “earned” until the author’s book sells enough copies to equal the advance.   Average advances for first-time fiction authors without celebrity status are somewhere between $5,000 - $15,000 (this varies considerably). Once that many thousands of dollars-worth of copies sell, the author begins to receive additional money. This is paid in the form of royalties (a percentage of total book sales). Both agent and trad house take a portion of those royalties.   Considerations: Trad houses typically own the rights to authors’ work, exercising significant control over what and how the author writes. That’s because trad houses focus principally on what will sell based on their knowledge of the publishing industry. They also value their own expertise on how best to refine, package, distribute, and market those raw ideas. All this is done to ensure the books sell - so they can recoup their investment.   Once authors have a traditionally published contract, their job is simplified. They pay no money to publish their book. Rather, they receive money from the publisher, and that amount of money can be substantial. They can ignore editorial, production, printing costs, distribution, and other complicated publishing aspects. This they leave to the publisher, while focusing their efforts on writing a bestseller.   Although the traditional publishing model is risk-averse, few new authors manage to obtain a book deal. Only one book out of five ever earns back their advance. These considerations have led many authors to turn to self-publishing. Self-Publishing  With self-publishing, the burden of the services provided for free by a trad house, are instead borne solely by the writer. The writer must not only write the book, but also prepare it for publication in terms of editing, cover design, layout, pricing, and much more.   The only alternative is to sub-contract out all (or parts) of the process, unless the writer possesses the capabilities to do it themselves. Perhaps, even more intimidating, once the book is published, the writer is wholly responsible to promote their work, without the enormous influence and advertising budget a trad house can provide.   Why Do It Yourself? One advantage to self-publishing is the quick turnaround from book completion to publication. Publication times are as expedient as the author can make them. Your book will be out there significantly quicker compared to a trad house (which can take two years from signing a book to release).   Additionally, if the author becomes a high-volume seller (more than 30,000 copies), completely self-published authors will come out ahead compared to those traditionally published. Moreover, while there are no upfront advances received, there is no quest required to secure an agent through lengthy querying (which can take years). There are also no contracts to negotiate, and no agents or publishers taking a substantial percentage of your profits.   Finally, self-published writers have complete creative freedom to write what they want, how they want it. Without interference from a trad house focusing solely on book sales, the author focuses on what they desire. Sometimes, this works out just fine.   We’ve all heard of self-publishing successes, like Fifty Shades of Grey, The Martian, and Eragon, which have far outsold many a traditionally published bestseller. But these successes are rare. Many writers are exploring their options on how to achieve their dreams of both publication and profitability.    So is there a middle ground?  Hybrid Publishers  Hybrid publishers often offer the best of both worlds.   They don’t accept just any book, so you still have quality control. But the gatekeeping is less stringent (i.e. no need for agents). They too want to represent quality writing, which enhances their reputation and increases their share of any profits.   Just as with traditional publishing, not every work submitted is accepted by hybrid publishers. The book is first evaluated to see if it meets publisher standards and their business lines. But unlike trad publishing, there’s a cost.   What Will It Cost You? Publishing fees with some hybrids can be exorbitant (averaging between $10,000-$20,000). You are paying them to do what you could do yourself as a self-published writer, but with the kudos of their name behind your book, and their expertise. Some people are happy to follow this route, but many writers get exploited. So research who you are working with before you sign anything.  Some hybrid publishers don’t charge direct, but you are expected to pay for your own editing and proofreading before submitting. You may forfeit some creative control. Each contract varies, so please be vigilant as to what you are expected to manage (and what they will) in exchange for a percentage of profits.  Is It Worth It? Once your manuscript is accepted, the editing, printing, and other stages of publication mirror those of a trad house. This leaves writers free to focus on writing. Depending on the hybrid model, many hybrid publishers also provide some level of marketing for their authors\' books, as well as distribution.   As opposed to complete self-publishing, hybrid publishing offers a “one-stop shop”. You don\'t have to slog to find editors, cover designers, and deal with getting your book onto various platforms. As well as all the other worries and expenses associated with self-publishing. And hybrid publishers can get your book published faster than trad too - often within six months. Not as quickly as one potentially could self-publish, but markedly quicker than one could ever be traditionally published.      With hybrid publishing, royalties are higher for the author than with trad houses. Yet, let’s be clear. Most hybrid companies are smaller and less prestigious than their trad counterparts, despite their ability to mass produce books. Sales will be lower and cover prices may be higher (so readership will be lower too).  Hybrid publishers seldom match the brand recognition and worldwide reading audience reach that a trad house can offer. It will be more difficult to get your book reviewed by elite reviewers if it doesn\'t come from a trad house, and it\'s challenging to make top bestseller lists outside of Amazon. One exception that stands out is author Laura Gassner Outing, whose book Limitless, published by hybrid publisher Idea Press ascended the ranks of the Washington Post bestseller list.  Different Types Of Hybrid Publishers Now that you have a better understanding of what hybrid publishing is, let\'s look at specific types of hybrid publishing, and which type may best suit your needs as an author. Some of the main hybrid publishing models include crowdfunding, assisted self-publishing, and partnership publishing.  Crowdfunding Based As the name suggests, a Crowdfunding-based hybrid publishing model means authors campaign to raise funds by asking for donations from interested parties. The hybrid press must attain a certain level of donations to move forward with publication and will ensure distribution to those who have pre-ordered the project. Should the project fail to reach that level of donations, it could be cancelled. Unbound, alias United Authors Publishing Ltd, is perhaps one of the best-known crowdfunding publishers. Assisted Self-Publishing Assisted self-publishing, formerly called vanity publishing, is another hybrid model that has suffered from an unfavourable reputation in the past. Extremely high-end self-assist publishing companies have emerged in the last decade, where authors can feel confident – if they have the funds – that their work will be professionally published.      The self-publishing assist company I publish with, FriesenPress, is well-established, with a sterling reputation for professionalism. I retain full rights for my books and the royalties I receive are 50% higher than what I earn off Amazon, where my book is also published.   FriesenPress has their own virtual bookstore which exclusively sells and advertises their published authors. FriesenPress also promotes any awards received by their authors and their authors\' professional reviews on their social media pages. Downsides? Well, one is that authors are largely responsible for their own marketing as many hybrid publishers have very little reach. Another detractor is the cost - FriesenPress’ top-of-the-line package exceeds CAN$10,000.   Partnership Publishing Partnership Publishing most closely aligns to a traditional publishing system. This model means writers split marketing and production costs with the publisher. As the author, you are primarily charged with marketing, but both author and publisher lose or make money together. Thus the publisher is heavily invested in the author’s success, and will not accept just any book, if the publisher desires to remain profitable.  Top Hybrid Publishers Some of the most reputable hybrid publishers we have found include Amplify, Forbes Books, Greenleaf Book Group, IdeaPress Publishing, LifeTree Media, Mascot Books, and Scribe Publishing. As with anything as monumental as making the decision as to where to publish your book, and how, do your homework. There are numerous hybrid publishers out there. Take your time to research and find the best one for you.   How Do I Select The Right Hybrid Publisher For Me?  We\'ve discussed some of the potential pitfalls of hybrid publishing. Hybrid publishing is not for everyone, because of these pitfalls. Yet, it is fairly easy to avoid these drawbacks by choosing the correct hybrid publisher. Here are some aspects to consider when selecting a hybrid publisher. What types of books does the publisher publish? Some hybrid publishers don’t have the experience publishing specific genres, possibly including the genre you write in. Look for one that has enjoyed success in publishing books relevant to the sort of book you write.   In the same vein, when you look at the books published, do they look professional, of superior quality? Could their books sit on the shelves of a major book chain, and look right at home beside traditionally published books, especially in terms of cover design? Speaking of major book chains, what sort of book distribution scope does the publisher have? Does the publisher have those critical relationships with outlets where you want to stock your book? Do they have their own bookstore, as another avenue to sell your books? Do they edit their books well? Does the publisher have a sterling reputation? Does the hybrid assist at all with marketing authors’ books?  If the answer is “yes” to the above questions, then you may wish to consider the hybrid publishing route for your book. Apples And Oranges Taking care of the complex and potentially confusing nuances of publishing, enhanced retention of creative control, increased royalty compensation, and other benefits combine to make hybrid publishing a potentially viable option versus complete self-publishing, or the traditional mode. Every hybrid publisher is unique, and some can curtail creative freedom in a manner like trad houses. Yet if an author can find the right hybrid publisher, they might find a more attractive method of getting their work out to the world more expediently, and ultimately, more lucratively than with one of the big five trad houses or going it completely on their own as a self-published author.  For writers who feel certain they will be consigned to self-publishing only, after lengthy unsuccessful querying trying to land a trad contract, the diversity of options available in hybrid publishing can be enticing.     

Jericho Writers member Julia Stone has had a long and varied career, often using her background in psychology as a springboard into her writing and other creative pursuits. Her first book, a psychological thriller called Her Little Secret, was published by Orion Dash in August 2021. We were honoured to talk to her about her journey to publication, and the expectations and surprises of commercial publishing. JW: Tell us about your first published book, \'Her Little Secret\'. Where did the concept come from?  JS: When doing therapy work with couples, I sometimes hear two completely different versions of events; like a mirror image. She paints him as a miser. He describes her as wasting their savings. Both believe their interpretation is ‘the truth’. But how would I know if one of them was lying about the other?  As a therapist, I don’t get to meet my client’s friends and family, I don’t see them at work or at home in the evenings. All I have to go on is what I see, hear and feel in the therapy sessions. But what if someone came for therapy and didn’t tell the truth? What possible reason could they have…?  These were the questions that got me thinking.  Cristina, the therapist in my novel, has been trusted with a lot of secrets. Her client, Leon, is being selective with the truth because he wants something - something only Cristina can tell him. The story idea blossomed from there.  JW: Had you done much writing before then? What’s your background as a writer?   JS: My earliest published work was a letter to Jackie magazine in 1974 – I pretended to be a Vulcan and not understand the concept of love! My mother encouraged us to be creative and we wrote our own stories from a young age – although I have to admit, most of them were rip-offs of \'Mallory Towers\'.   In my 30-year career as a business psychologist, I wrote professional materials for client companies and contributed to managerial text books. Then in my early forties I came back to my creative side, completing an art degree part-time and studying scriptwriting. I brought writing into my artwork, as each sculpture was always accompanied by an imagined ‘backstory\'. I also self-published an artist’s book - \'Heavy Clumping Cat Litter\' -  a flash fiction/photography collection inspired by found shopping lists.   Around this time, I was lucky enough to be shortlisted in several competitions for a script idea, a short story, and the early chapters of a novel. That encouraged me to think more seriously about novel writing. I had loads of ideas half-written in my bottom drawer but now I’d rediscovered the creative writing bug, so in 2017 I applied for the Faber Academy Writing a Novel programme.   JW: What was your journey to getting an agent? JS: During the six-month Faber course I produced a draft novel that sparked some interest from agents with three manuscript requests, but sadly no one offered representation.  In 2018 I signed up to Jericho Writers and attended every workshop I could which really fired me up with enthusiasm. An idea came to me when I was driving on a long journey and I started work on a new story. I was thrilled when it was short-listed for Best Opening Chapter at the Festival of Writing that year. That gave me the courage to enter the Blue Pencil First Novel Award. As the book went from longlist to shortlist I was amazed and didn’t expect anything more. I was on my way to London for a meeting when I heard the novel had won and Madeleine Milburn wanted to offer me representation! I was so surprised and excited I missed the train, but it was the best ever excuse to be late for a meeting.  In 2018 I signed up to Jericho Writers and attended every workshop I could which really fired me up with enthusiasm. Managing expectations and emotions JW: In what ways has your work as a psychologist complimented or contrasted with your work as a writer?   JS: My background is in management consultancy where deadlines are set in stone and ‘time is money’ – back in the 1990s we literally had to keep timesheets and account for what we were doing every half hour. So, the time lags in the writing & publishing process were a bit of a shock. For the writer, there seems to be a lot of waiting - for a response, for feedback, for edits – and no idea of when this might come. Agencies and editors are inundated and it can leave the writer in a reactive position, feeling a bit in the dark. And, as we all know, that is when the doubts creep in. I do wonder if more could be done to explain what is happening and manage expectations?  On the other hand, my work and experience in psychology helps me to cope with the ups and downs of the journey. I’m not immune but I know the tools and techniques that help manage any emotional reactions to disappointments and setbacks. Psychology has also helped me to understand personality, motivation, and behaviour. This is a great help with developing rounded and believable characters, although I don’t think you ever stop learning your craft.  For the writer, there seems to be a lot of waiting - for a response, for feedback, for edits – and no idea of when this might come. Agencies and editors are inundated and it can leave the writer in a reactive position, feeling a bit in the dark. And, as we all know, that is when the doubts creep in. The publishing industry: expectations vs. reality JW: You signed a deal with Orion Dash, a digital-first imprint. What was that experience like? Was it what you had been expecting?   JS: To be honest, I didn’t really know what to expect. What has pleasantly surprised me is the speed; the time scales are so much quicker than traditional publishing. The offer from Orion Dash was made in March 2021 and \'Her Little Secret\' was published in August, having been through a significant structural edit in that period. The whole thing is a learning experience for me and I’m loving it.  JW: You’ve also had work published before in your professional field of psychology as well as having experience in scriptwriting for training videos. How did this background inform your expectations of commercial publishing, and did anything surprise you?   The rounds of editing! Aside from proof edits, no one has ever given structural feedback on anything I’ve written in my professional field. It was fascinating and something I hadn’t expected, although I really see the benefit. I think it would be helpful for writers to know how many rounds of rewriting they will need to go through at all stages: before they submit to agents, then before their agent submits to a publisher, and finally, with the publishing editor.  You’ve got to love the characters to stick with them through all this!  I think it would be helpful for writers to know how many rounds of rewriting they will need to go through at all stages: before they submit to agents, then before their agent submits to a publisher, and finally, with the publishing editor. JW: What are you working on now? If you’re writing the follow-up, how are you approaching it?  I’m currently halfway through rewriting a previous psychological suspense novel, which has a totally different feel to \'Her Little Secret\'. (That said, the protagonist is once again an unmarried, child-free woman in her fifties!) As always I start by working out the key plot points and write a 2-4 page synopsis as if I am telling someone else the story. I then find images that represent the main characters and anything relating to their environment and stick them in a notebook. Obviously, the story changes as the characters take it off in unpredicted directions, but this gives me enough to get started. By the time I’ve finished the first draft, the notebook pages are bulging with scribbled notes, mind maps, sketches, quotes and articles torn from newspapers. It’s the only way I know how to do it!  JW: Any final advice to those starting out?  Obviously sign up and get involved with Jericho Writers! From my own experience, I strongly recommend taking part in workshops, writing groups, and competitions. Ideally set up or join a writing group. I wouldn’t have stuck with it had I not been part of a mutually supportive writing group that I met during the six months at Faber. Writing can be a lonely job and we need all the support and encouragement we can get from others who are on this journey.   About Julia Julia Stone applies her creativity in her work as a writer, ceramic artist, coach, supervisor and therapist. She has had a long career in psychology and psychotherapy and now works part-time. She loves learning and was recently thrilled to pass her Level 1 exams in British Sign Language. Her second book will be published by Orion Dash in 2022.  Her Little Secret is available in ebook, audio and paperback from Amazon. Website: www.juliastonewriter.com  Twitter: @julestake3  Instagram: @julia.stone.writer 

Have you heard that we’re living in a golden age of small press publishing? Small publishers around the world are putting out a good proportion of the most exciting and innovative fiction and non-fiction, dominating prize lists and thriving in a way that means they are having an ever-increasing influence on the book world.  This guide will introduce you to some of the most important of these big-hitting small presses, as well as explaining what makes them different from normal publishing houses and investigating the pros and cons of working with a small publishing company. What is a Publishing House? Let’s start with a rough guide to the basics processes of book production that most publishers follow: 1. Submission Manuscripts are sent by agents, or, in some cases pulled from slush piles (which is to say, the collected manuscripts sent by individual authors.) 2. Acquisition Publishers make offers for books. This generally includes an advance, outlines of royalties and publication date. Once the offer is accepted this will be formalised in a more detailed contract. 3. Delivery of Manuscript Hopefully on time! 4. Editorial This is where the author and editor work on structure, characterisation, and all the important nuts and bolts of the book. Done properly, this can be a long process with lots of back and forth between editor and author. Often, it’s done to a tight schedule. 5. Cover Design This is generally done in-house, but freelance designers and illustrators are also used. The author is generally consulted about the cover - but rarely has final say. 6. Typesetting The process by which words are laid out on the page, which is actually more complicated than it sounds. Making those precious sentences flow nicely, with the correct margins and no mess, is a job that takes real skill.  7. Proofs and Publicity Proof copies are made of the book for final copy-editing checks and to send to reviewers. At this point publicity begins in earnest, although publicity often starts earlier. Most importantly, book reps should have been talking about the book with bookshops. Publicity campaigns still continue after books are released with posters, YouTube videos, social media campaigns and more. But are generally more limited… 8. Ebooks are Prepared The typeset document (usually a PDF) is converted into ebook format 9. Printing and Binding The actual physical books are printed at the publishers’ expense. Generally, at specialist print works, not in-house. 10. Warehousing and Distribution The books are sorted, stored and sent out to the shops to fulfil their orders. 11. Books Arrive in the Shops Hurray! But this isn’t quite the end of the process as (assuming things go well enough) the publishers still have to process sales figures and author royalties. What is a Small Press? In the UK and the USA most of the trade publishing industry is dominated by the Big Five presses: Hachette, HarperCollins, Macmillan, Penguin Random House, and Simon & Schuster. These are multi-million-pound businesses, each controlling numerous separate imprints and employing vast numbers of staff. They also don’t accept submissions unless they come directly from an agent. Beneath that are smaller independent presses like Faber & Faber and Canongate, which are still companies with big lists and large numbers of staff. They often only accept agented submissions. And then there are small presses – publishers who are much easier to work with direct. There are different definitions for what constitutes a small independent publisher. Many define small press companies which make less than $50 million a year (which is still pretty big!).  One useful guide in the UK is the entry criteria for the excellent Republic Of Consciousness Prize for small presses which is an annual competition for publishers with fewer than 5 full-time employees. In the USA, where everything tends to be bigger, the equivalent prize instead defines small presses as those which publish an average of 18 or fewer published titles per year.  It’s also useful to think of small literary presses in terms of atmosphere and state of mind. They carry out all the publishing processes listed above - but in a different way. They are like the micro-breweries of the publishing world, producing smaller quantities of (ideally!) high-quality work favoured by enthusiasts and connoisseurs. At best, they are run with passion for people who are passionate about books. They also provide a huge range of special, and particular, flavours.  In the USA and Canada, meanwhile, there are hundreds (if not thousands) of presses catering from local to international interest and every kind of voice. Leading lights include Coffee House Press, Coach House Books, Melville House and Biblioasis. In the UK, some of the best small presses include Jacaranda Books who state they are run by “talented women of colour whose aim is to promote and celebrate inclusivity and diversity in the publishing industry”, Dead Ink who focus on “new and emerging authors”, Influx Press who are “are committed to publishing innovative and challenging fiction, poetry and creative non-fiction from across the UK and beyond”, Bluemoose Books who explicitly state they don’t want “orange headed celebrity books” but do want “brilliant stories”, And Other Stories who “aim to push people’s reading limits and help them discover authors of adventurous and inspiring writing”, Fitzcarraldo who focus on “ambitious, imaginative and innovative writing”. My own press, Galley Beggar Press tries to support writers of great literary talent writing outside the norm, who push the boundaries of form and language some of the best small publishing houses can still be more specialist. Two Rivers Press, for instance, publishes poetry as well as books about the city of Reading’s people, history, places, and culture. Pros of Working with a Small Publishing House This kind of specialisation is one of the great advantages of working with small publishing houses. If your work fits with their niche and ethos, you’re onto a winner. It’s also quite possible that fitting in well with a small house also means your work won’t work for bigger, more conservative and conventional houses. There are also several small publishers for new authors that accept unsolicited manuscripts, meaning you don’t have to go through the agent route to have your talent spotted. There are further advantages to consider: More Likely to Welcome New Authors When it comes to small publishers accepting submissions, they are often more able and determined to take risks on new writers and new kinds of writing. And they deal with you direct!  The fact that they have small lists of books with tight financial margins can be uniquely liberating. Because every book they put out is a risk, they don’t have to hedge their bets and can go all out on a book that they believe in. As a result, many of the best new writers in the UK and USA in the past ten years have emerged from small houses - and small presses that publish novels and non-fiction have won a disproportionate number of prizes and short-listings. Greater Author Involvement In large publishing houses different people tend to manage each part of the publishing process. They have established, regimented procedures which don’t enable so much author input. Most notably, your editor will be mainly responsible for the first five of those processes listed above - but once they’ve signed off your book it can often feel like that’s the last you hear from anyone. You don’t have a contact who’s working on production - and the editor will know next to nothing about this stage of the process. If you’re lucky you’ll perhaps have a meeting with someone from the publicity team, but it can often feel like most meaningful contact with the publisher finishes long before your book comes out.  Work with a Trusted Team of Professionals At smaller presses, because the teams are smaller, the people who work on your book tend to work on most stages of its production - or at least have good knowledge of what’s going on at each stage. Your point of contact will be able to tell you more - and involve you more. Authors do not tend to have the final say with a small press any more than in a larger press, but they can generally expect greater consultation and involvement.  Ideally, the best small presses will also give your book an extra level of dedication. They tend to take on books because they feel passionately about them. They don’t have books that are there to bulk out the list. They can’t rely on big name celebrity memoirs to put them in the black. So they have to get right behind everything they produce and push it as hard as they possibly can. Cons of Working with a Small Publishing House So far so great. But authors also need to be aware that a small publishing house may not be the best fit for them - and there are potential disadvantages to working with them… Poor Author Advances If you’re looking for a six-figure advance, you’re unlikely to find it with a small press. Some are philosophically opposed to giving too much money in advance because it so often means authors don’t earn out, don’t get to see any royalties, and can find themselves viewed as an unprofitable proposition as a result. Instead, small presses tend to offer more generous royalty rates because they see this as fairer.  Lower Marketing Resources Arguably, smaller publishers don’t have the marketing budgets or resources enjoyed by bigger publishers. For more writers this is immaterial, since it’s very rare that significant marketing money is invested in an individual author who isn’t already selling well - but it can make a difference as books begin to climb the charts.  Smaller Distribution Opportunities? One thing that big publishers can guarantee is a relationship with established bookstores and outlets, along with a good distribution network and a team of book reps who will work on getting books onto the shelves. Plenty of smaller publishing houses will also have good relationships with the shops (and perhaps even better relationships with some independent bookstores.) In the UK they may also use established distributors like Turnaround and Inpress who do the vital work of warehousing, distribution, and bookstore relationship management. Plenty of US independents also have excellent distribution. But it’s not always guaranteed so it is something to check before you sign on the dotted line.  Eccentricity From a commercial and authorial point of view the great strength of small houses can also be their weakness. All small presses accepting submissions are different. They all have their own personality and impact on the market. They all have different passions and beliefs. That’s fantastic if you find yourself in alignment. It’s wonderful if you’re writing the kind of book that you can work together on. But you should also be aware that this kind of relationship may not be for you or the best fit for your work. Something for Everyone Small publishing houses can provide many benefits for new authors. They are there not only to take a risk on good new work, but to love it and nurture it and give it the best possible push into the world. But you should enter any relationship with a small press with your eyes open and think carefully about the potential downsides. Confidence is a two way thing in publishing and you need to believe in your publisher as much as they believe in you.  Small presses do great things for many writers - but so do the big five and other larger independent presses. It’s a big world out there and there’s space for everyone.

One of the questions writers ask most frequently is - “does an author need a website?” With so many ways to promote yourself online now, from social media to forums, do you really need to go to the expense and hassle of creating a website for you and your books? The simple answer is…yes! In this article I will guide you through everything you need to know, from what makes a good author website, to whether you need one of your own. By the end of this blog, you will understand the perks of having your own dedicated website and how it can be instrumental to building your author brand. Do Professional Writers Need A Website? Whether you are an author, journalist, poet, playwright, freelance writer, or any kind of writer, it is likely you have asked yourself the same question. As a writer there are already so many things you need to do to get your work out there, this feels like one very large and unnecessary thing to add to your to do list. Bear with me, because you’re about to find out how this may well be one of the most important things you can do for you and your future as a writer. Regardless of the industry you are in, your online presence can contribute massively to your brand and the success of your creative work. You wouldn’t set up a new business without having a website – and being a writer or author is no different.  According to Internet World Stats, there are over 4.2 billion internet users, and Google averages about 40,000 searches per second, so it stands to reason that the internet is instrumental to the success of any brand today. I’m sure even Shakespeare would have had a website if he were around today! Having your own website doesn’t mean you need to be tech-savvy, or that you need to invest in a professional designer. But when your book is in the shops and the press or a reader Googles you, you want to make sure you are able to share everything about you and your work that you can. So where do you start? Let’s look at this in more detail… Reasons Why Writers Need A Website Social Media Isn’t Enough Social media platforms such as Facebook, Instagram, LinkedIn, Twitter, and Tumblr are great platforms on which to promote your businesses and the perfect place to engage with your audience, but you don\'t want your business to live solely on social media. Firstly, you have very little control. Recently, Facebook, Instagram, and WhatsApp were down for around 6 hours, all at once! That’s six hours that people can’t find out anything about you. Social media platforms can also delete or restrict accounts when they wish. And even though most of these platforms are established and been about for years, neither do we know if they will be around for ever – or as popular.  Ideally, you want your brand to live on your own domain. You own and control your website; there are no rules or conditions you have to comply with. Your website belongs only to you, and you can post any kind of content you want and conduct any form of marketing or advertising on it that you wish. Personal Brand Development A personal brand is your identity – and when you are an author, that reflects on your work too. Just like any organisation’s personal brand helps convey their values and identities to its customers, your own personal brand helps you communicate who you are and what you stand for to your readers. When you control what’s on your website, you control the narrative. Your author website provides a platform to tell your story, communicate a coherent brand image, showcase your expertise, qualifications, works, professionalism, plus shout about your publishing achievements to readers, the press, and other publishing professionals. Example 1Judy Moody is a fun children’s book series by Megan McDonald. The creative style and illustration of the author’s website perfectly reflects the brand image of the author: Build A Community A professional website presents you with an opportunity to build an active community where readers can interact directly with you, get an exclusive insight on you and your work, and provide feedback that you can use for future work. You can also build a newsletter, which has a much higher ‘book sale’ conversion rate than most other forms of advertising. Visitors can subscribe to your mailing list where you can keep in touch with them weekly or monthly. These newsletters can attract a lot of interest in the long run as subscribers who are already in love with what you do are more likely to recommend your books or services to other people who are looking for great writers. Personal recommendations go a long way in promoting your personal brand. Gain Audience Trust Most people go online to search for more information about a person or brand. According to wpforms, 55% of people search the internet for a brand’s website – and that includes your book. You can lose respect and credibility with readers if you can’t be found online. A strong website that showcases your brand, your work, and you, is a great way of demonstrating that you are as reputable as you claim to be. Example 2Aside from the immersive experience Jennifer Egan’s website gives its visitors, it also showcases reviews from reputable sites which is a great way of building trust with her readers. Interaction Opportunities Just like all social media platforms, a website is a great medium for interacting with your audience. You can even create a forum on your website where members of your community can interact with you and each other. You can also set up a blog on your website where you can get feedback from visitors. Links to these blog posts or forum topics can be shared on your own social media platforms, and are also likely to be shared by your community members – helping spread the word to their like-minded contacts. Social media can also be instrumental in driving traffic to your website. Instead of creating a long thread or post on your social media personal pages, it’s always easier to share links to your website or specific pages – ensuring your marketing remains cohesive and everyone gets to hear about you. Establish A Content Hub A website also provides you with a great content platform on which you can showcase your work. Editors, publishers, press, and readers who are interested in your work can find everything they need, in one place, on your website.  Example 3Gretchen Rubin’s website provides more than just information about herself and her brand. Her website offers extra value as it’s also filled with blog posts, podcasts, quizzes, and other resources. This is highly appealing to her visitors and makes them more likely to return to her website. Make Use Of Video Another way to make your website stand out is by adding videos. Some people prefer to consume content by watching and listening, rather than reading, so including videos helps you cater to a wider audience. Embedding videos onto a website can seem daunting, but there\'s a wealth of information and resources available. Whether you\'re looking for a GIF compressor, tips on adding video captions, or an MP4 compressor, with a little research you\'ll be on your way to creating a website that your readers will engage with. Be Competitive Whether you like it or not, your writing should be treated as a business if you want to succeed. You want your author name to be found on search engines when people look for you. There are thousands (possibly hundreds of thousands) great writers out there - so how will your prospective readers find you? A writer website gives you a competitive advantage as not only will it help people find you, but it boosts credibility and perceived value. Put simply, people are more likely to trust a brand with a dedicated website featuring detailed information and services than a business that doesn’t offer that. Search Engine Optimisation (SEO) Your website doesn\'t just provide information about you and your work, it can also boost your visibility on the internet. The more visitors you have, the higher the ranking on the search engine results page. According to Forbes, 75% of people never go past the first page of search engine results, hence the need for your website to rank as high as you can on the organic search engine results page. By incorporating SEO practices into a website for an article writer there is a decent chance of it being easily accessible. Regularly updating your website with relevant content and adding keywords to your content are SEO practices you should consider. So, if you are a romance writer specialising in books about Victorian detectives – make sure you use those terms as often as you (naturally) can on your website. Because when someone Googles ‘Romance novels featuring Victorian detectives’ you want to be the first person they find! Example 4In terms of design and functionality, Austin Kleon’s website is up there with top author pages. The website demonstrates his brand, it’s easy to use, and it’s evident that he updates it regularly and is always bringing out new books. Save Time And Money Aside from the fact that websites are affordable to set up and maintain, they can also save you a lot of time and money. When querying your work with agents, many ask for your website. Likewise, when press want to write about you and your book, you don’t have to keep sending long emails or press releases to each separate media company – simply direct them to your press kit on your site featuring bios, credited author photo download, and everything they need to know about your work and where to buy it. Publication Platform Having your own author website means you are free to publish your work, on your site, for free – whenever you want. As established earlier, there are no restrictions guiding the timing and content you can publish on your website. Many authors like to publish free short stories for their readers, or run competitions on their newsletters, or use this free content as a way to get people to subscribe to their newsletter. Example 5David Sedaris’s brilliant website showcases his books in a simple fashion. The “works” section on the website is unique, creative, and tells the whole story. Also, publishing content on your blog regularly keeps your visitors engaged and helps you collect feedback.  Derive Revenue A website can also be a valuable sales platform – especially for self-published authors. As of 2021, 27.6% of the world population makes the majority of their purchases online. It’s easier, quicker, and faster to buy books online than in a bookstore (especially with those with mobility issues, living in remote areas, or unable to leave the house). And with the recent lockdowns, online book purchasing has seen its largest rise ever. The best author websites have a payment gateway feature. You can integrate a payment system on your website that allows people to place orders for your book and checkout with ease or simply connect visitors to other distribution platforms such as your favourite indie bookstore, Amazon, or your publisher’s online shop. How Much Does A Website Cost To Create? Websites are cheaper and easier to set up and maintain than people realise. Your first stop is creating a domain name – this should be your author name. Luckily most people find that the url of their name isn’t taken. If it is, you can always add the word ‘books’ or ‘author’ after your name.Next you need to design your site. If you haven’t a clue how to create your own author website, there are several DIY sites such as WordPress, Squarespace or Wix.com with a template collection from which you can choose any author website template and edit it to your style. Examples of inspiring author website design templates can be also found on Pinterest. However, if you want a unique author website design, you can always hire a professional. Get Seen I hope this guide has helped you understand the importance of having an author website, and why it’s worth the investment in time and money. Not every author wants a website, and perhaps if you write for fun or only have one book to promote, you may not see the need for it. But remember, if your work is competing against that of dozens of similar writers – it’s the one with the largest online presence who will be found first!

One thing that every writer naturally wants to know is how many copies of their book they can expect to sell. But clear answers are hard to come by. It isn’t just that book sales numbers for an individual title are dependent on so many different factors ranging from what kind of book it is, to who is publishing it, via a good dose of sheer luck. It’s also that industry figures for all book sales can be opaque and confusing. Making sense of it all is a considerable challenge. But hey! That’s why this guide is here. I won’t be able to make definite predictions for you in what follows, but I will be able to give you a good idea of how book sales are calculated, and how to make sense of book sales data. Along the way, I’ll also provide some useful benchmarks. Book Sales Sources First of all, let’s look into why book sales tracking is such a difficult business and why it’s hard to get reliable book sales figures. When people ask how to work out how many books they can expect to sell, the temptation here is to invoke the old cliché about working out the length of a piece of string. But the truth is even that analogy won’t cover it, because there isn’t a single reliable measuring device for book sales data. In the UK, for instance, print book sales charts generally rely on a system called Nielsen Bookscan (the US equivalent is called NPD Bookscan), which compiles point of sale data for bookshops. Which is to say, it counts how many books go through the tills. But it doesn’t count all books sold because not all shops that sell books are signed up to the system. It also doesn’t count sales from all websites, including the increasingly numerous and successful direct sale webstores on publishers’ sites. It doesn’t count ebook sales either.  This already out-of-focus picture is made even fuzzier by the difficulty of getting reliable sales figures from major online retailers like Amazon. And that’s before you get to the problem of working out audiobook sales figures once you factor in the complexity of all the different streaming and ‘credit’ systems used by platforms like Kobo and Audible. It’s also before you get to the essential points that publishers and retailers don’t tend to make sales figures public anyway - and that you have to pay a healthy subscription fee to access Nielsen’s figures. See? I told you it was complicated. What are Average Book Sales? Now, to add to the confusion… You might come across a few websites discussing average sales figures here and there on the internet. One figure that often crops up is that the average traditionally published title can expect to sell 3,000 copies in its lifetime. Another famous figure is that the average annual sales figures for literary fiction are lower than 250 copies in the UK. Because I’m a publisher, I sometimes give talks to ambitious students on creative writing courses and have to share that melancholy figure with them. You can imagine how it goes down. And then I have to make things even worse. I don’t want to encourage too much cynicism about the average sales figures you might read online, but I do want you to think about how useful they are. Once I’ve depressed those students with the 250 books figure, for instance, I remind them that this is just the mean average. And you have to know more than that to really understand books sales statistics. The mean average sales figure is calculated from the total number of books sold divided by the number of titles. Which is to say, if 100 books were sold, and there were ten different books the average sale of each book would be 10 copies. The trouble is that different books sell in vastly different numbers. That literary fiction figure includes hard hitters like Hilary Mantel and Booker Prize winners who may be selling close to a million copies in a given year. Which makes that 250 copies start to feel like an optimistic estimate! It\'s Not All Doom and Gloom Here’s another way of thinking about it.  Let’s go back to that figure of 100 books sold. Out of those 100 books, one book might sell 10 copies. Another couple might sell five. Then, three or four might sell four copies. And so on, down the list. If you extrapolate that out into the real world, it means that while the small number of bestsellers might skew the average figures, there are other useful calculations to make. It’s often a good idea, for instance, to look at the median figures as well as the mean average. Just a reminder - the mean is the total of the numbers, divided by how many numbers there are. So, for example: (4+4+6+15+100) ÷ 5 = 25.8 To find the median, you order the numbers and find out which one is in the middle of the list. If we look at the following list: 4, 4, 6, 15, 100 then the median is six.  (Just for statistical completeness, the mode, meanwhile, is the number that appears most often. In the example just given, it’s 4. It’s harder to relate this directly to book sales since the figures vary so much - but I mention it here in case you’re ever looking at figures that can be usefully rounded up or down.)There’s a useful article written by Lincoln Michel over on Electric Lit explaining that out of the books to hit the number one spot on The New York Times bestseller list in 2014, mean sales were 737,000, a figure which was heavily skewed by the 8 million copies of 50 Shades Of Grey that were sold. The median was 303,000. More Cause for Optimism Confession time. I’ve kept something back from you. So far, I’ve been talking about annual sales figures. That’s distinct from the weekly sales figures that are used to compile book charts. And also, crucially, for the lifetime sales of a book. These, you’ll be glad to hear, tend to be higher. Indeed, if you’re lucky enough to have a book that comes out in both hardback and paperback, you could find yourself selling more books in your second year than your first. And even if you don’t, you can hope for some accumulation as time goes on.  What’s more those average figures I’ve been quoting may be on their way to being out of date. The book industry has been growing. In 2020 print book sales rose by 8.2% in the USA. For the year ending on Jan. 2 2021, units rose to 750.9 million, from 693.7 million the year before. (I know! That’s a lot of books!) In the UK, meanwhile, there were also reports of increases in 2020, even if the Nielsen Bookscan system wasn’t operating as usual. The Publisher Association reported that fiction sales income rose 13% to £285m, sales of digital consumer books rose 26% up to £125m and also said \'there was a 47% rise in UK sales of audiobooks (up to £39m), while the value of consumer ebook sales rose 18% to £86m.\'  This may be a blip. 2020 was a highly unusual year after all and books became a source of comfort as well as a very good way to fill time during lockdown. But there’s hope that plenty of people will have re-acquired the reading habit. It certainly seems that shops that have reopened have been enjoying brisk sales as people have also rediscovered the joy of browsing*.  *Another interesting fact - it’s very hard to talk about overall annual sales figures until after Christmas. I’m writing this article in October 2021. Plenty of stores will still be hoping that more than half of their annual trading will be done in the next few weeks. Christmas is the big time in book world. In fact, many of the top selling books each year aren’t even released until October. So we won’t know about the top selling books of 2021 for a while. Most Popular Genres Time for another confession. Literary fiction may be the genre that most interests students on creative writing courses - but it is not the only game in town. In the UK, in 2017, Nielsen Bookscan figures showed the crime books had become the bestselling fiction books, with 18.7 million sold, compared to 18.1 million general fiction titles. Statistica have also put out research showing that the mystery/thriller/crime was most popular genre in the USA. 47% of their survey respondents said they had read a crime book up to July 2015. Meanwhile, a writer called Geoff Affleck did some useful number crunching on the US Amazon store back in 2019, for instance, and discovered that a mighty 25% of the top bestselling ebooks on Amazon were Romance, Women’s Fiction, and Teen novels (and, he noted, a good proportion of those were “the kind with ripped, bare-chested hunky men on the cover.”)  Perhaps the best way to sell books is to become a writer of ebook romance?  Meanwhile, adult nonfiction sales have also continued to grow. Affleck also provided the following top list for print books (with the number in brackets being the average Amazon ranking of the top five books in each category): 1. Biographies & Memoirs (10) 2. Self-Help (15) 3. Religion & Spirituality (20) 4. Health, Fitness & Dieting (22) 5. Politics & Social Sciences (24) He also did a breakdown of ebook sales using the same method: 1. Religion & Spirituality (61) 2. Biographies & Memoirs (96) 3. Business & Money (123) 4. Self-Help (146) 5. Cook Books, Food & Wine (171) Best Selling Books of All Time Let’s carry on in an optimistic vein and look at the top ten best-selling fiction books of all time. It’s fun to dream, after all.  1.The Hobbit by J. R. R. Tolkien 140.6 million copies 2. Harry Potter and the Philosopher\'s Stone by J. K. Rowling 120 million copies 3. The Little Prince by Antoine de Saint-Exupéry 100 million copies 4. Dream of the Red Chamber by Cao Xueqin 100 million copies 5. And Then There Were None by Agatha Christie 100 million copies 6. The Lion, the Witch and the Wardrobe by C. S. Lewis 85 million copies 7. She: A History of Adventure by H. Rider Haggard 83 million copies 8. The Adventures of Pinocchio (Le avventure di Pinocchio) by Carlo Collodi 35-80 million copies 9. The Da Vinci Code by Dan Brown 80 million copies 10. Harry Potter and the Chamber of Secrets by J. K. Rowling 77 million copies A few caveats. These figures are estimates. This list doesn’t include older titles like Miguel De Cervantes\' Don Quixote (which some estimate at having sold 500 million copies), or Charles Dickens’ A Tale Of Two Cities (some say 200 million copies). JRR Tolkien’s The Lord Of The Rings isn’t in there either, because of the confusion over the fact it’s been sold both as a single book and with its three parts separated out. Final Numbers... Okay. Back to reality. Not everyone gets to sell 100 million books. Sometimes, you might be lucky to reach 100 people. And, okay, we don’t hear as much about those books at the lower end of the spectrum. We don’t, as this article has explained, even get to hear how many copies those books have sold without subscribing to expensive aggregators like BookScan. Publishers only really tend to share those figures with their authors and agents. Not because they’re trying to hide anything, but because there’s no real demand that they should.  There are also the feelings of the writer to consider. I can tell you, for instance, that I am not keen for anyone to know the sales figures of some of my own worst-sellers…but, I hope with time, I’ve also grown realistic about these things.  The main lesson here is that you shouldn’t just measure success in terms of hard sales. Bringing a book to completion is a victory in and of itself. It takes skill and dedication - and if you touch only one reader with your work, that still means you’ve had an impact, which has to count for something.

We first met Wiz when the opening of her debut novel was longlisted for Friday Night Live at the 2020 Summer Festival of Writing. She went on to win our bursary for the Self-Editing Your Novel course, and after receiving six (!) offers, is now represented by the RCW Literary Agency. \'Ghost Girl, Banana\' was pre-empted by Hodder Studio and will be published as its major summer launch in 2023. Here, we got to chat to Wiz about staying true to your heart as a writer, the importance of a writing community, and more. JW: Tell us a little about your background as a writer. When did you start writing? WW: I was an absolutely voracious reader as a kid, and I think that naturally led me to think it would be something fun and easy to do as a job - haha! I remember when I was about six, I sent a hand-drawn children’s manuscript to Hamish Hamilton, called Tilly and the Flower People. It was about a gang of rebellious tulips plotting a coup against their greedy human nursery boss (don’t ask). One of the editors sent me the loveliest reply - a rejection, obviously, with two bits of advice: 1) Never send your original MS through the postal system and 2) Keep trying. I actually started my career in a different field, studying screenwriting at the National Film and Television School where I had the privilege of being taught by some of the greats like Stephen Frears, Mike Leigh and Ken Trodd. My graduation film won a couple of prizes on the international film circuit and from there I was picked up by the BBC. I subsequently worked on a few projects, but ultimately none of them were green-lit - another hard lesson in rejection! JW: What was the first piece of work you put through the submissions process? What was that like? WW: My first adult submission was for a novel that I believed sat firmly in the genre of literary/upmarket commercial. What I was subsequently told by two agents - who offered me representation - was that I’d written an “unintentional thriller” and could I please make it more of one! I absolutely love thrillers as a reader, but in my heart knew that this was not my natural home as a writer. I also knew that I was in this as a career rather than a one-book thing, and worried how I would follow this, having set up readers’ expectations of my work. As a result, and after much soul-searching, I turned down both offers and started again... Finding a community JW: How has having a community of writers around you helped with your writing journey? Do you have any advice for writers trying to find their community? WW: I think the best thing a writer can do - apart from reading everything you can get your hands on - is to find a group of people who understand you. For writers, that’s other writers because no one else can quite comprehend either why we do what we do, or the struggles of the journey. I was incredibly lucky to discover the Twitter writing community early on, especially the #VWG (Virtual Writing Group) who have been absolutely instrumental in keeping me going, but there are other outlets available too: in-person groups, creative writing initiatives/courses (like Jericho Writers!) Instagram and Facebook. The best way to find your tribe is to engage with others. You have to put in the effort because writing is a reciprocal act. What I mean is that it’s not just about creating; you’re always looking to find and understand your audience. It’s intimidating at first, but just say hi, offer suggestions to questions, enter competitions or things like #pitmad, #askagent and #WritersLift, or congratulate someone else’s achievements. By and large, the writing community is incredibly generous and inclusive, despite occasional pockets of unpleasantness, and you will be welcomed. You have to put in the effort because writing is a reciprocal act. What I mean is that it’s not just about creating; you’re always looking to find and understand your audience. JW: Tell us about Friday Night Live. What was that experience like? WW: I was a festival novice when I entered and didn’t think I had any chance of being longlisted, so it was wonderful to have that validation. And just entering a competition is an act of faith and bravery, so I have a lot of admiration for anyone that does it. I didn’t reach the shortlist of FNL but my experience with Jericho did lead to me winning the Self-Edit bursary that year, and being noticed in other competitions, so it’s definitely worth putting yourself out there. I will add that the quality and standard of teaching at Jericho Writers is wonderful, but if you can’t stretch to the cost of a professional assessment or a course, the Summer Festival of Writing is a brilliant, affordable alternative that gives you access to some of the greatest speakers and workshops on writing. The fairytale choice JW: You submitted to six agents and received four manuscript requests within an hour. You also received six offers! How did that feel? Was the process what you expected? WW: I’m still reeling, actually! It’s an enormous privilege and a thrill to have that response to your work, but I do think a lot of it came down to timing and a public appetite for more diverse stories. This wasn’t my first rodeo, and I’d been told previously that my writing was sound but my voice was too marginal for the market. Because of this, I was girding my loins for rejection again (and the famously long wait for a response), so to have that turnaround was a bit bewildering. I remember speaking to my friends in the #VWG and saying “X has asked for a meeting. What does this mean?” You always wonder “is this the call?” because sometimes it isn’t; sometimes it’s a request for a revise and resubmit (an “R&R”), but it just happened that all six offered representation. And as much as it was an absolute fairytale situation, I can’t even begin to describe the agony of making a final choice and having to turn people down. It felt really alien to me, and I do think it’s important to remember that agents are people, too, and they are also said no to daily - be that through editors, publishers or sometimes even writers! I do think it’s important to remember that agents are people, too, and they are also said no to daily - be that through editors, publishers or sometimes even writers! JW: Rather unusually, you’re represented by two agents. What is your working relationship with them like? WW: I am incredibly blessed in that department. I have to say that the wonderful Claire Wilson is my primary agent at RCW and helps me day to day with absolutely everything, but Peter Straus has also taken me under his wing and emails me with incredible advice, offers editorial notes, or sometimes just emails to ask if I’m okay. It’s incredibly collaborative and nurturing, as is the whole agency. Claire’s assistant Safae and all at the foreign rights team are also majorly amazing. I’m working on that “difficult” book two now and Peter and Claire have both been brilliant in terms of their insights. JW: How did the offer from Hodder come about? WW: Claire drew up a submissions list for both the UK and US. We’d spent the previous five weeks rewriting the manuscript (twice) to try and make it as strong as possible before sending it out as we wanted to catch people before the summer break. The “nos” came quickly, and quite fast, but the fact they were all for different reasons helped me view them as subjective rather than a fault with the book itself. And that’s the thing. A book lives for a long time in these early phases and for that reason you absolutely NEED an editor to be in love with it 100%. Some of the editors were incredibly passionate about the book, but it fell at the acquisitions meeting stage for one reason or another. I do think there’s this misconception that only one person has to love your book for it to be published, but it actually takes a village to get to that finish line. Luckily, we did have a fair bit of interest from both here and in the US, but when I had my first meeting with Sara Adams at Hodder I knew instinctively that she was who I wanted to work with. First of all, she’d brought her lucky cat to the meeting (haha) but secondly, her whole team was on board already and loved the book. Most importantly, however, Sara understood the story to its bones which is crucial to me as a writer. We were immediately on the same page about what might need changing/tweaking whilst maintaining the heart and integrity of the novel. That combination was irresistible to both me and Claire. And can I just add that I am so glad to have had an agent at that point; not just for the professional connections but for the negotiations that took place after the offers came through. It was stressful enough handling the phone calls, let alone doing all the figures behind the scenes! A book lives for a long time in these early phases and for that reason you absolutely NEED an editor to be in love with it 100%. JW: Finally, do you have any tips for writers working on their debut right now? WW: In much the same way as any creative field, writing is a skill acquired over many years of dedication and training, and the journey is fraught with disappointment and “almost there”s. Keep the faith, but also keep reading and learning. No one can write your story your way, so as tempting as it is to compare yourself to others it’s also counterproductive to finding and loving your own voice. Your voice is what makes you special and uniquely qualified to tell your story. Write with your heart rather than with one eye on the market (you’ll always be behind the curve) and do it as if no one is looking. Find a support network of other writers and be generous and sincere in your praise. Connect with agents professionally and courteously and don’t trash talk on social media, even when you’re at your lowest. And if you achieve your dream, whether that’s finishing a book or being published, or being successfully published, don’t pull the ladder up after you. I wish you all the very best on the journey. About Wiz Wiz Wharton is a prize-winning graduate from the National Film and Television School. Previously published in non-fiction, she has appeared on various broadcast platforms, including radio, television, and print media. Her debut novel, Ghost Girl, Banana - based on her mother’s posthumously discovered diaries - is a dual narrative examining the search for belonging and identity, set between the last years of the Chinese Windrush in 1966 and Hong Kong’s Handover to China in 1997. Wiz currently divides her time between London and the Scottish Highlands. Read more about Wiz on the RCW website; or on The Bookseller. Connect with Wiz on Twitter: @Chomsky1

What is copyediting, and why is it a vital part of the writing process? Before I was a traditionally published writer, I thought that you had one editor. I imagined this editor would give me structural feedback, fix all of my spelling and grammar, and ta da! It would all be ready for the printers. I was wrong, very wrong. Editing isn’t one process; it has several levels to it. In traditional publishing you will receive a structural edit from the editor who has commissioned your work, often a line edit, to check every line to make sure that each sentence is as effective as possible, a copyedit, and finally a proofread. But whether you are hoping to be traditionally published or are self-publishing your own work, a copyedit can mean the difference between a good book and a great one. So what is copyediting and why do you need it? Below you will find information on why a copyedit is so important, how a copyedit differs from proofreading, and exactly what a good copyedit involves. What Is Copyediting? Copyediting is a process of revision, which focuses on eliminating grammatical and factual errors, ensuring consistency and improved readability. That sounds straight-forward, yet a copyeditor does more than fix your grammar and dodgy formatting. Yes, they can spot when you’ve written ‘weather’ instead of ‘whether’ and when you’ve accidentally popped an apostrophe for possession in the word its (we’ve all done it!), but they also do so much more. A copyeditor will notice if you are repeating words. They will spot if in one paragraph you’ve spelled your drink as ‘whiskey’ and in the next chapter it’s ‘whisky’; they might even stop you from writing a sentence that is running on without any punctuation whatsoever so that if you tried to read it out loud your face would be turning blue and you would be on the verge of passing out (see what I did there?). Consistency also plays a huge part in the copyediting process. Your copyeditor will scour your manuscript to spot if your character’s eye colours change from a glacial blue in the first chapter to a muddy brown in the thirtieth, and those all-important moments where you’ve slipped from first person to third person, then back again. And then, of course, there’s the dreaded timeline. The word a lot of us flinch at the mere mention of! Yes, your copyeditor will be there, calendar in hand, to tell you that those dates don’t fit correctly with events you have described. So, let’s look at the copyediting process in more detail. What A Copyeditor Does The role of a copyeditor will largely depend on the condition of the manuscript in front of them, where it will be published, and the time/budget available. Their job is to offer revisions of the following key elements: Align title order and apply consistency in fonts and headings sizes Check and amend spelling and grammar errors Check continuity of place/character names  Check continuity of character and setting cosmetics Improve clarity of language, ensuring the narrative runs smoothly Ensure that the correct captions are with the appropriate photograph Confirm citations match the content of the reference section Highlight potential legal liability, with a view to keeping you and your manuscript safe from possible legal action against you Highlight overuse of jargon Suggest changes for repetition Raise discrepancies in the timeline When you receive your copy edits back, for the most part, your copyeditor will correct your manuscript digitally with track changes on so you can see exactly where you have made (often laughable) mistakes; remember that character, Brian? Well, you have called him Brain for most of your manuscript, but look, your wonderful copyeditor has ironed out all those Brains for you. Phew! There are times when your copyeditor will need your input if they are unsure of your meaning, or think rewording a sentence would help make your manuscript run smoothly. They will add a comment on your document to bring this to your attention. It’s considered quite rare by today’s standards, but should they find themselves working on a paper copy you may find that a copyeditor will use copyediting symbols which a proof-reader may use. In this case, the hard copy would be passed to another editor before it comes to you. At this point some of you may be saying - hold on, I thought a copyeditor was a proofreader? Fear not, my friends, I shall explain all… Difference Between Copyediting And Proofreading Remember how I said at the beginning that there are several levels of editing? Well, proofreading is the last one. Once your manuscript has been copyedited, you will now have a revised version of your manuscript. You have agreed/declined their amendments (yes, you can disagree, it is still your book!) it is then time to have a proof-reader examine your work. You may be thinking - why do I need a copyeditor if it then has to be proofread anyway?  As we’ve already discussed, a copyeditor’s job is to not only look at spelling and grammar but offer an in-depth scrutiny of your manuscript. By the time a proof-reader receives a manuscript, it will be an almost finished piece of work; it will have been to typesetting and the pages in front of them (a PDF if it’s a digital copy) will look like the pages in your book. The job of the proof-reader is to correct any errors that have fallen through the net and they will be focusing on the finished product that is about to go to print. A proof-reader will be ensuring that the house style of the publisher is met. For example, you may have written okay, but your publisher’s house style may be OK. They will look at your page numbers, ensure no pages are missing and even check for repetition of words that sit above each other – often referred to as stacking — in the text.   At the proofreading stage, there should be no major changes in the text, just the odd one-word correction or possibly a paragraph if it’s deemed necessary. If there are too many errors, a proof-reader may return the proof and request further copyediting.  In short, a copyedit will contain a vast number of revisions based on the quality of your writing, the content of your story, as well as the layout and any syntax errors. A proof-reader’s corrections are often minimal as they are working on the final draft of your work. They are there to put the icing on the cake, to straighten your tie, to make sure your knickers aren’t tucked into your dress before you leave the house. Why Copyediting Is Important Copyediting is an invaluable part of the publication process. Without it, you may be sending out a manuscript where your main character is called Brain not Brian, where your characters have the ability to change eye colour at any given time in your novel, and where a year in your work may actually be fourteen months long. You may think your manuscript is ready to be published without a copyeditor, but even the most established and experienced writers make mistakes. Copyeditors are the quality gatekeepers of the publishing world and may well hold the keys to your success. How Long Does Copyediting Take? Writers by and large are an impatient bunch, so how long will you have to wait to have your work copyedited? For a fairly clean manuscript by a professional author, a copy editor will read approximately 1500 words an hour. For a less experienced writer on average it would take 1000-1250 words an hour. If you are thinking of taking the plunge, all reputable copyediting services will be able to provide a quote and an expected delivery date. Do I Need A Copyeditor? Whether you are self-publishing or hoping to be traditionally published, copyediting is a vital part of the publishing process. Without it, the quality of your work may suffer and the wonderful story you are telling may be put aside in favour of the enigmatic blue-eyed Brian whose exciting story unfolds over the course of just one year... not a year and two months. As my own work is currently off to be copyedited, I would like to thank copyeditors everywhere; you are my heroes, and Brian and I are forever in your debt. If your work would benefit from copy-editing, try our copy-editing service. Or, try our line-editing service.

As a writer, your passion is your writing—you care about getting your ideas out there. But as you near the end of your writing process, the question of publishing costs pops up with all the tact of an uninvited party guest. Suddenly, there are decisions to make—important ones, and they can be daunting. How much is this really going to cost? How do I know if this quote is reasonable? Do I really need this service? The temptation to ignore the business side can be strong, but don’t give in. Your book’s success depends on you giving it a solid business foundation, and that starts with a sane budget. After reading this article, you’ll feel confident creating a budget for your book. You’ll know which factors affect prices, how much you should expect to pay for each service, and a reasonable ballpark for your total budget. Book Publication Costs A budget is more than just a list of prices—it’s about priorities. This article will familiarise you with what various services cost. Allocating your money wisely and planning your launch are topics of their own, and you can read about them here: How to Self-Publish Your Book on Amazon KDP How Much Does it Cost to Self-Publish a Book? Literary Agent Fees Meanwhile, if what you’re really interested in is traditional publishing, you’ll want to read How to Get Your Book Published in 2021. And if you’re not sure of which route to take, Traditional Publishing vs Self-Publishing is the article for you. Still here, and still ready to talk prices? Let’s go! Production Costs Almost all publishing budgets include editing, layout, cover design, and ISBNs. For certain non-fiction books, indexing will also be a significant expense. What do each of these services cost? How are the fees typically structured, and which factors influence the final price? Let’s take a look at each one in detail. Book Editing Costs and Proofreading Costs For most self-published books, the biggest non-marketing cost is editing, accounting for around half the production budget. And rightfully so! Ask any successful author and they’ll tell you: never skimp on editing. Even if you’re a professional editor yourself, there’s no substitute for the perspective of a trained professional who lives outside your head. What Influences Editing Costs? The length of the manuscript. (You want them to check every word, right?) The difficulty of the manuscript. If you’re the type of writer who can weave a great yarn, but is a little “loose” with their text, your editor may charge a higher rate. Meanwhile, technical non-fiction content will require a specialist editor, also at a higher rate. The depth of the edit. Editing that reviews elements of style (phrasing, tone, word choice) is more costly than editing strictly for correctness (grammar, spelling, typos).  The experience of your editor. An experienced editor won’t necessarily catch more mistakes, but they will have established work habits that allow them to be more efficient, reliable, and consistent. How Do Editors Structure Their Fees? There are two common fee structures: per-length or per-time. In a per-length scheme, the editor quotes a guaranteed cost based on the number of words or pages in your manuscript. In a per-time scheme, the editor quotes an hourly rate, and usually provides an estimate of the number of hours required. Per-length rates are more common in the modern self-publishing community, probably because they provide cost certainty to the author. However, there’s nothing wrong with a per-hour rate. If your editor can provide a reliable estimate of the time your edit will require, it boils down to almost the same thing. A Note on Terminology: Editing terms can be confusing because they vary between countries and between writing communities. Is it a copy edit, or a line edit? A line edit, or a stylistic edit? When requesting quotes, it’s best to specify the scope of editing you need, instead of assuming a common vocabulary. For example, you might ask for an editor to correct “grammar, spelling, and typos, but not matters of style or flow”. (If an editor’s website gives you their definition of terms, you can safely use those.) What Does Editing Actually Cost? Here are typical ranges, using all three price structures, in US dollars: Type of editPer-wordPer-page (300w)Per-hourStyle + correctness$0.015-$0.020/word$4.50-$6.00/page$15-20/hrCorrectness only$0.010-$0.012/word$3.00-$3.60/page$10-12/hr The lower end of this range would be for a less experienced editor and a less difficult manuscript; the higher end would be for the opposite. A Note on Structural / Developmental Edits: The editing we’ve described here is what’s sometimes referred to as final edits, meaning that you’ve finished making structural changes to your manuscript, and are now focused strictly on making the text the best it can be. There’s an entirely separate service known as “structural editing” or “developmental editing”, whose purpose is to make higher-level suggestions about your manuscript, such as restructuring chapters or cutting or adding content. If you plan to pay for a structural edit, make sure you budget for it separately from final edits. Book Formatting Costs With a number of do-it-yourself layout tools available, it’s tempting to try this step yourself. However, book layout is about more than just “converting” a manuscript into PDF or EPUB format. The wrong choice of font, font size, line spacing, or margins will reduce readability and cause reading fatigue. Unresolved widows, orphans, and rivers will distract the reader. If your book also contains tables, images, footnotes, or other rich content, the decisions are multiplied. What a designer offers is the judgment and best practices to make those decisions correctly. This is why, for most books, the right choice is to hire a professional. Fortunately, layout is often one of the less costly services you’ll need. What Influences the Cost of Layout? The formats you’re publishing in. An e-book layout is an entirely different thing than a print layout. If you publish in two print formats (e.g. hardcover and paperback), those may require separate layouts as well. The length of the manuscript. Sometimes this is only considered if it exceeds a certain threshold, such as 100,000 words. The complexity of the content. A novel is usually composed of what’s called running text—simple paragraphs. Meanwhile, a textbook or recipe book would include diverse elements, such as footnotes, tables, images, captions, headings, and so forth. How Are Fees Structured? For a running-text book, it’s common to see a single, fixed price. For books with more complex content, expect a custom quote. You may be asked to fill out a form identifying the number of images, tables, footnotes, and so on; or the designer may ask to review your manuscript. What does it cost? Here are some typical costs in US dollars: Running text, one format (e-book or print): $300-500. Running text with some images or diagrams (memoir or simple how-to book): $500-1000. Rich content (recipe book, textbook, technical how-to): $1500-2000 or more. Multiple formats: For one print and one digital format, expect to pay a bit less than the sum of the individual prices. For multiple print formats, there may be larger discounts. (Always let your designer know all the formats you’re considering.) Book Cover Design Costs Your cover is the centerpiece of your marketing; as with editing, this is an area where you shouldn’t skimp. A good cover designer doesn’t just create an image, they also give you valuable insight into the visual language of your genre or category. Book cover design costs vary considerably, and represent much more than just the technical quality of the final image. Careful research is essential. What Influences Book Cover Design Costs? The source of the content on which the design is based. Licensing fees for a stock photo may be as little as $20, while the cost of an original photo shoot can easily exceed $1000. In both cases, the final cover would be based on a photo, but the creative flexibility and licensing restrictions would be different. The labor-intensity of the work. The more detailed a cover is, or the more precisely some part of it must be executed, the more it will cost. The depth of the design consultation. This ranges from no process at all (buying a pre-made cover) to multiple drafts and revisions plus audience testing. How Are Fees Structured? Many designers offer packages at fixed prices, in exchange for limiting the design parameters. For example, it’s common to see a package in the $400US range that offers a cover based on a stock photo, with one or two rounds of revision. These package prices give both you and the designer a degree of certainty. Other designers, meanwhile, operate on a more open-ended process. They’ll provide a quote after receiving a brief or discussing your project with you. The quoting process itself takes time and effort, so this is uncommon at lower price ranges. A Note About Add-Ons: When dealing with package prices, you’ll often see “extras” included, such as a 3D render of your book, pre-made ad banners, or the source files for the design. Don’t compare packages based on a bullet list of “items” you’re getting—instead, focus on the design process and the designer’s skills and experience. (If you need specific extras, just ask for them.) What Does a Book Cover Design Cost? Keeping in mind that there’s a wide variation, here are some reasonable benchmarks: $400-600US is a typical price for a cover based on a stock photo, using a more “assembly line” design process. This price is typically a sweet spot for first-time authors who need a cover that conveys a sense of quality, but are on a tight budget. $500-800US is a typical range for an established designer using a more interactive process, but without any original illustration or photography. $800-1500+US is common for in-depth design processes, veteran designers, and covers that incorporate original illustration. For a print cover, expect $50-100 more compared to the e-book cover price. (This is for layout of the spine and back cover, plus meeting the printer’s specifications.) For both formats together, the price should be only slightly more than the print format on its own. Don’t Forget Genre... Every genre or category has certain conventions for cover design, and this can tie your hands with regard to some costs. For example, a space opera cover will typically be illustrated (where are you going to get a real-life photo of an alien planet?). That illustration will cost more than licensing a stock photo for a steamy romance cover. Book Indexing Costs If you’re publishing a non-fiction book in print, you may need indexing. (E-books are searchable, so are not normally indexed.) If you do need indexing, expect it to be a significant part of your total budget. What Influences the Cost? Length of the book, measured by the number of “indexable pages” (any page with text that needs to be indexed). Density of index entries (number per page). Difficulty of the text (degree of technicality or specialization). How Are Fees Structured? The most common model is a fixed cost per indexable page. However, some indexers may charge per index entry, per hour, or even a flat rate per book. What Does Book Indexing Cost? Generally, from $2.50-6.00US per indexable page. The low end would apply to the least dense and least technical books, such as business, political, popular science, and memoir. The high end would apply to the most dense and most technical books, such as textbooks, academic books, and technical manuals. ISBN Number Costs An ISBN is a stock-keeping number used by retailers to track inventory and/or sales. (It’s not a license to sell, and doesn’t affect your copyrights.) Although not strictly obligatory, the world’s book distribution infrastructure is built around ISBNs, so serious authors always use them. Each country has one national agency that manages ISBNs—sometimes this is the government, and sometimes this is a private entity that has been granted a monopoly, so prices vary. You need a separate ISBN for each format of your book. Below are some sample costs: CountryISBN agencySingle ISBN10-packUKNielsen£89£164USABowker$125 US$295 USCanadaCanadian governmentFreeFree A Note About “Free” ISBNs From Distributors: Some distributors or retailers offer “free” ISBNs as part of their service. However, these come with limitations. Typically you won’t be listed as the publisher in the ISBN registry, which can look unprofessional. And you’re usually not allowed to “take the ISBN with you” if you stop using that distributor or retailer. (This doesn’t affect your copyrights, but it can create a huge administrative hassle.) We recommend you buy your own ISBNs. A Note About Barcodes: When you buy ISBNs, you may be offered barcodes as well. A barcode is a way of representing your ISBN so a scanner can read it—you’ll see them on the back of every book.This is generally not something you need to pay for. If you’re using a mainstream print-on-demand service, such as IngramSpark, your barcode is automatically generated for you. If you need barcodes in other situations, there are free barcode generators on the web that you can use. All-in-One Packages The appeal of an all-in-one package is that it removes the entire process of comparing quotes from multiple contractors… and the risk is that it removes the entire process of comparing quotes from multiple contractors. Package Deals Commonly Come in Two Flavours: An “assembly line” package is focused on reducing your costs. It achieves this by streamlining the administration that would be duplicated across services, and through pre-existing relationships with specific contractors. You can save money this way, but watch out for unneeded services, and expect a more cookie-cutter result than you might get from hand-picked professionals. A “project management” package is focused on integrating the whole project under a consistent vision, selecting professionals suited to your project, and providing you with advice to make smart publishing decisions. With this approach, you pay more money than doing it yourself—in exchange for consistency, convenience, and advice.  When looking at costs, refer to the benchmarks for total costs later in this article. Expect an “assembly line” package to cost less than our benchmark, and a “project management” package to cost more. In all cases, investigate package deals carefully—remember you’re effectively making several hiring decisions at once. Book Marketing Costs Marketing is Different From Production in Important Ways: Production is a one-time expense to create a product. Marketing is an ongoing process, with no limit to total spending. Certain production tasks apply to almost every book (editing, cover design), while marketing plans are unique to each title. Production is about achieving quality and suitability while controlling costs. Marketing is about experimentation, and focuses on return on investment. Unfortunately, This Means There’s No “Average” Cost for Book Marketing. However, Here Are Some Useful Benchmarks:  “Deal” newsletters are a tried-and-tested promotional method, and there are effective options at prices from $20 to $1000. Remember to compare cost and audience size. Editorial review services can provide you with credible, positive marketing quotes for $200-400. Many authors achieve positive return with Amazon ads and/or Facebook ads. These systems are too complex to describe here, but as a rule, at least $100 (preferably more) is needed to properly test per-click ads for your book. Your author portrait is a useful marketing asset and can boost your credibility. $200 is a reasonable investment for a professional portrait that will last you several years. When you’re starting out, it’s safe to DIY your author website. Keep it simple, include links to your books and your social media channels, and revisit it over time. NetGalley is a service for generating buzz, media, and reviews. Although very useful for books with a larger marketing budget, it needs to work in conjunction with other efforts, so it should never take up the majority of your marketing budget. Costs range from $450-850US for a listing. Copywriting for your book description and marketing text provides a high return on investment. For as little as $50 you can obtain a strong marketing text that will generate a much better response than something self-written. As Far As How Marketing Fits Into Your Overall Budget, Again, Every Book is Unique. But Here Are a Few Rules of Thumb to Follow: A $0 marketing budget is almost always a mistake. At minimum, include $100 for inexpensive options. For a book with a budget of $2000 or less, allocating a quarter of your budget to marketing is reasonable. As your budget rises, the fraction allocated to marketing should also rise. For budgets $2000-$10,000, about a third of your total budget for marketing is reasonable. Above $10,000, most of each new dollar should go to marketing rather than production, as you should already have a top-quality product. Average Cost to Publish a Book So, with everything taken into account, what does it cost to publish a book? It should be clear by now that this question doesn’t have a single answer, and it would be unhelpful if we simply gave a range without any context. Instead, here are three sample budgets, each with a breakdown of costs: Example #1: Romance Novel. E-book and Paperback; 60,000 words. Editing for correctness and style: $0.02/w = $1200 Book layout, e-book and paperback, running text only: $550 Cover design based on stock photo: $400 Total $2150 + ISBNs + marketing. Example #2: Epic Space Opera Novel. E-Book Only; 120,000 words. Editing for correctness and style: $2400 Book layout, e-book only, running text only, extra cost for length: $320 Cover design based on original illustration: $800 Total $3520 + ISBNs + marketing. Example #3: Academic Text on the History of Steam Engines. Hardcover and Paperback; 85,000 words; Numerous Images, Diagrams, Tables, and Footnotes. Editing for correctness and style: $0.02/w = $1700. Book layout, hardcover/paperback with same dimensions (one layout), complex content: $2300. Cover design, based on historical photo: $400 Indexing: $5.00/page @ 270 indexable pages = $1350. Total $5750 + ISBNs + marketing. As a general rule, you would rarely spend more than $5000 to produce a novel, and only the most complex non-fiction would exceed $15,000. At the low end, spending less than $1200-1500 on book production likely means you’re cutting corners. There are exceptions to every rule, so always base your decisions on an analysis of what your book needs to succeed. Compare with other authors wherever possible; budgeting and planning your book can be daunting, so why navigate these waters alone?

Ever been to a bookstore and wondered what all the little images on the book spines mean? All those H\'s, penguins and sowers lining the shelves? Well, they are the logos of the publishing companies who have published that book. Take a look at the rows of books in any bookstore and you will most probably be looking at the emblems for the Big 5 publishers and their many imprints, as well as a smattering of independent (indie) publishers. With so many amazing publishing houses out there, the perfect home for you book may well be out there, but how do you know where to look, and who are the most reputable? In this article we will be looking at the very best book publishers, how publishing companies work, and how to get published by a traditional publishing house. The publishing industry can be a little tricky to understand, but by the end of this article you will be armed with all the knowledge you need when it comes to choosing the best book publishing companies for your work. How Do You Search For A Publisher? Finding a book publisher can be hard, especially if you\'re hoping to be traditionally published by some of the top publishers in the business. Where do you begin, and what information is important for you to know before you start submitting your manuscript to some of the largest book publishers? Is there anything to be said for self publishing, and what types of publishing should you avoid? Do I Need A Literary Agent? Yes, you will most likely need to be represented by a literary agent before you (via your agent) can start submitting to bigger traditional publishers. Nevertheless, there’s no harm in window shopping; it might even provide you with a focal point if you are still working on getting an agent. For more information on how to find a literary agent, read more here. Where To Start If you’re feeling overwhelmed by the number of book publishers out there, I’ll be listing the top five biggest publishing houses, some of the best educational publishers and those who publish children’s books, as well as some of my personal favourite independent book publishers.Read on to discover the very best publishers, covering all book genres across the globe. The Big Five Book Publishers While aiming high can be daunting to some authors, literary agents will often wish to submit your manuscript to the top publishing companies first. After all, not only do they have the most power and influence, but they also know what they\'re doing - most of them have been publishing books for over a hundred years! Who Are The Big Five? The biggest and most successful traditional publishers in the world are often referred to as \'The Big Five\'. So I will be starting with them. These are the five powerhouse trade publishing houses which are most well known and widely recognised. Within them you will find many other recognised imprints (publishing houses owned by them) whose logos appear on the spine on the book. Let’s take a look at them in more detail. Simon & Schuster Simon & Schuster is where we begin our big five journey, as this publishing company holds an annual revenue of $830 million. They have over 35 imprints, including notable ones such as Howard Books, Scribner, and Touchstone, and they release over 2,000 books a year! Some of their biggest titles as of late are Salt, Fat, Acid, Heat by Samin Nosrat and The Institute by Stephen King. Founded in 1924, Simon & Schuster remains a prominent publisher today, publishing a variety of genres along with big names such as renown authors F. Scott Fitzgerald, Jodi Picoult and Philippa Gregory. They also offer many opportunities for those wanting to pursue a career in publishing and are one of the biggest names in the industry to work. HarperCollins With an annual revenue of $1.5 billion, HarperCollins has no shortage of good books and authors. Their notable imprints include Avon Romance, Harlequin Enterprises, Harper, and William Morrow, and their titles range broadly. Some of the top books as of late are Girl, Stop Apologizing by Rachel Hollis and The Last Romantics by Tara Conklin. Authors published originally by Harper include Mark Twain, the Brontë sisters, H. G. Wells and Agatha Christie. A book deal from this giant will most certainly help with book sales! With over 100 imprints, this publishing powerhouse also offers a great opportunity to learn about the industry from the best.  Macmillan Publishers Established in 1843, Macmillan Publishers is still going strong. With $1.4 billion in annual revenue, there are many publishing routes and imprints available through them, namely Farrar, Straus and Giroux, Picador, St Martin\'s Press, and Thomas Dunne Books. Some of their biggest titles from the recent past that you may have heard of include The Great Alone by Kristin Hannah and Me by Elton John. With an eclectic list of authors under its belt (from W B Yeats to Leigh Bardugo), and a global market with countless possible genres to publish under, you’d be wise to consider them an ideal place for your book to end up.  Penguin Random House Everyone recognises that little penguin on book spines in bookstores, and everyone is familiar with the orange Penguin Classics books, but what else do you know about this iconic publisher? With over 15,000 books published a year, not only is Penguin Random House one of the top five, it may well be the top of the top five. Their annual revenue exceeds $3.3 billion, and they have countless notable imprints such as Knopf Doubleday, Crown Publishing, and Viking Press. They also have many famous authors under their wing, including books like The Testaments by Margaret Atwood, and The Guardians by John Grisham. As of 2021, Penguin Random House employs approximately 10,000 people globally and has published 15,000 titles annually under its 250 divisions and imprints. Hachette Livre Looking for a European based publisher with more published books a year than Penguin? Then take a look at the Hachette book group. Hachette Livre has an annual revenue of $2.7 billion and nearly 200 imprints. Some of these include Grand Central Publishing, Little, Brown and Company, Headline, and Mulholland Books. Their biggest titles in the recent past include Talking to Strangers by Malcolm Gladwell and Little Weirds by Jenny Slate. they have also published names such as James Patterson, Martina Cole, Donna Tartt, and Celeste Ng. Growing steadily since their merger in 1992, Hachette Livre has a lot to offer both you and your book. Best Educational Book Publishers Looking for a reliable and quality educational book publisher, or someone who specialises in nonfiction titles? This can be more difficult than you think, but thankfully I’m here to shorten the list for you. These publishers are looking specifically for educational books, quality hardback textbooks and the like. This won\'t be helpful if you\'re looking to get your fictional manuscript published, but if it\'s educational materials you write, then read on! Bertelsmann Education Group Bertelsmann is a media, services and education company that operates in about 50 countries around the world. The online education and service offerings are primarily in the healthcare and technology sectors, as well as in higher education. With an annual revenue of around $300 million, this group has no shortage of educational texts, resources, and reliable online connections. Scholastic I can’t recall how many Scholastic book fairs I went to as a child. Perhaps you went to some as well, given that Scholastic is both an educational publisher and a popular children’s publisher. Their book sales are always consistent and their annual revenue is roughly $1.7 billion. Their notable imprints include Arthur A. Levine, Klutz Press, and Orchard Books. While their educational books are extremely popular for grades K-12, their YA fiction remains the most popular (no doubt you’ve heard of Harry Potter and The Hunger Games, right?). Pearson Education Have you ever used DuoLingo for your language learning needs? Did you know that Pearson Education has recently partnered with them? There’s a lot of other notable mentions surrounding Pearson, such as their annual revenue of $1 billion, and their well-known imprints (Adobe Press, Heinemann, Prentice Hall, Wharton Publishing). Their most popular publications are always subject textbooks for higher education, and for good reason. McGraw-Hill Education One of the largest publishers in American education is Mcgraw-Hill. Their annual revenue often exceeds $1.7 billion, and they are well known for their many editions of test prep books (SAT and ACT) and elementary school math textbooks. Their most notable imprints include Glencoe/McGraw-Hill, Macmillan/McGraw-Hill, and McGraw-Hill Higher Education, no doubt familiar to you if you’ve been involved in any American education system. Wiley While Wiley has a lot to offer in terms of non-educational publishing, their For Dummies series of educational books is one of their top sellers. With an annual revenue of $1.7 billion, their various instructional titles are big hits in the publishing world. Their most notable imprints include Bloomberg Press, Capstone, Hungry Minds, and Wiley-Blackwell, and they continue to publish a large variety of titles, both educational and otherwise. Cengage Learning Publishing both hard cover print books and maintaining a dedicated digital library can be difficult, but Cengage learning can do it all. From imprints that publish specifically for grades K-12 as well as books for higher education learning, Cengage is a wonderful publisher to consider. Cengage is also the owner of the National Geographic Education division, made to bring excitement to classrooms worldwide. With an annual revenue of $1.7 billion, it’s safe to say that this publisher is one of the educational publishing powerhouses. Houghton Mifflin Harcourt You may have already heard of Houghton Mifflin Harcourt, or HMH for short. This publisher specializes in different disciplines including business and economics, biography and memoirs, children’s books, cookbooks, health and wellness, and more. They make more than $1.4 billion annually, with many notable imprints: Clarion, Graphia, John Joseph Adams Books, and Sandpiper among them. Their largest and most recent titles include elementary school textbooks in all subjects, as well as cookbooks. Best Children’s Book Publishers Some of the top selling books published today are for children or young adults. However, writing and publishing for children and young adults can be a lot harder than you would think! Although young adult novels have really flown off the shelves in the last twenty years, and often offer the most variety in terms of diversity, content and audience, young adult fiction, middle grade fiction and picture books still remain one of the most competitive markets in the publishing world. Here are some of the best choices for children’s book publishing today, and how you can reach out to them (via your literary agent, of course). Bloomsbury With offices around the world and prominent publishing houses in both the US and the UK, Bloomsbury Books is a top contender for children’s book publishing (they also publish a vast array of nonfiction books including political nonfiction). Established in 1986, Bloomsbury has many popular children’s book authors across every age group. With an annual revenue of $150 million, Bloomsbury USA Books for Young Readers was established in 2002. Their YA fiction has grown increasingly popular, their authors often topping the New York Times Bestseller list. If they\'re good enough for the likes of J K Rowling, Sarah J Maas, and Samantha Shannon, then I\'m sure your book will be more than happy in this home. Ladybird Books It\'s impossible for anyone over the age of thirty to not have fond memories of their first Ladybird hardback book as a child. Who doesn\'t remember their favourite fairytales presented in that iconic little book with a plump ladybird on the cover? UK-based and another division of the Penguin Group, Ladybird books is perfect if you’ve got a bedtime story to tell. Their lineup of children’s books is primarily geared toward younger audiences, from toddlers to roughly age ten. They have many award winning series published under their name, including many Peppa Pig books, as well as an educational division with their famous Peter and Jane reading guides and other titles where they have teamed up with names such as BBC Earth. Their annual revenue is roughly $17 million. Chronicle Books San Francisco-based favourite Chronicle Books, with a $10 million revenue, has a wonderful eye for the unique and aesthetic storyteller. Their children’s books are beloved and unique, and this small independent publisher receives more than 1,000 submissions a month for their young adult department alone! They publish most type of children’s books including activity books, art books, board books, picture books, chapter books, middle grade, games, and gift and stationery items. Hogs Back Books Hogs Back Books publishes fiction books aimed at children up to 10, as well as early readers for children up to 14, and teenage fiction. Amongst its most notable titles, Boris the Boastful Frog was recommended by The Telegraph in 2013 as one of the best books of the year for young children. They are a small family-owned and independent publisher, and the small selection that they choose to publish is beautiful and heartfelt. Arbordale Publishing With just about $1 million in annual income, Arbordale Publishing isn’t the largest in US children’s publishing. However, their books are aligned to Common Core, Next Generation Science Standards (NGSS), as well as state education standards. Arbordale books are vetted by experts and professionals from a variety of organizations including NASA, JPL, Project Learning Tree, USFWS, SeaWorld, the Cherokee Nation and others. They publish an average of 20 books per year. Immedium Based in San Francisco, CA, Immedium is influenced by an increasingly diverse world. While they are a small company and make an average of $150k in annual revenue, they have wonderful illustrations and ideas for children’s books.  Immedium publishes subjects range from eye-catching children’s books to contemporary non-fiction, including commentaries on art, popular culture, and multicultural issues. Kids Can Press Kids Can Press is a Canadian-owned publisher of children’s books, with a list of over 500 picture books, non-fiction and fiction titles for toddlers to young adults and an estimated annual revenue of over $10 million.  The Kids Can Press list includes characters such as Franklin the Turtle—the single most successful publishing franchise in the history of Canadian publishing, which has sold over 65 million books in over 30 languages around the world. Quirk Books Looking for a smaller publishing agency for your unique and captivating children’s book? Publishing only around 25 books a year, Quirk Books is based in Philadelphia and is searching for the most original, cool, and fun ideas out there. Is your book creative enough for Quirk? It’s one of my favourite publishing companies, having taken the helm on series such as the Miss Peregrine anthology by Ransom Riggs, which has won many literary awards. August House Publishers A more traditional publishing company, August House Publishers are seeking children’s book authors committed to folktales, diverse and memorable. They enjoy stories from many diverse backgrounds, as well as stories that work well as oral tales, stories meant to be passed on from generation to generation. They also have a soft spot for scary stories and stories that can be used in a classroom environment. With an annual revenue of roughly $10 million, they produce beautiful children’s books. ABDO Publishing With almost $50 million a year in revenue ABDO is a formidable children’s book publisher. Based in Edina, Minnesota, this family-owned book publishing company specializes in non-fiction books for the school library market. From engaging nonfiction to illustrated titles, ABDO has both educational and fantastical book titles for children of all ages. Best Independent Book Publishers Are you looking for a smaller company to publish your book? This is a better option if you are still seeking a traditional publishing company, but want to work with them directly There are many benefits of working with an independent book publishing company. Smaller companies often accept unsolicited submissions (ie you don\'t need to have a literary agent and can approach them yourself), especially if the submission is more unique and experimental in nature. Plus, independent publishers often offer a more hands-on approach for new and inexperienced authors. the downside is that their budgets and reach may not be as large as that of the big five, so you are less likely to get an astronomical advance or become an international bestseller. But it\'s not impossible! Let’s check out some of the best in the business... Autumn House Press Autumn House Press is an independent, non-profit literary publishing company based in Pittsburgh, Pennsylvania that was founded in 1998. They began as a publishing company strictly for poetry, but they have since expanded to include fiction and nonfiction. Autumn House Press’s especially notable titles include Anxious Attachments by Beth Alvarado and Not Dead Yet and Other Stories by Hadley Moore. Tupelo Press Tupelo Press is an American not-for-profit literary press founded in 1999. It produced its first titles in 2001, publishing poetry, fiction and nonfiction. Tupelo Press publishes the winners of its national poetry competitions, as well as manuscripts accepted through general submission. Awards given by Tupelo Press include the Dorset Prize, the Berkshire Prize for a First or Second Book of Poetry, and the Snowbound Series Chapbook Award. They have a lot to offer as an independent book publisher. Influx Press Hackney-based London independent publisher, Influx Press, was founded in 2011. They focus on site-specific literature closely linked to precise places across the UK and beyond. They have printed unique books such as How Pale the Winter Has Made Us by Adam Scovell and A Door Behind a Door by Yelena Moskovich. Fledgling Press Fledgling is an exciting and innovative publisher founded in Edingburgh, Scotland. Their focus is primarily on Scottish talent, but they still consider writers from other parts of the world. Founded in 2000, Fledgling Press have have launched the writing careers of award winning authors including Helen Grant, Philip Caveney and Alex Nye. Graywolf Press Graywolf Press is an independent, non-profit publisher located in Minneapolis, Minnesota. They publish fiction, non-fiction, and poetry. Graywolf Press currently publishes about 27 books a year, including the Graywolf Press Nonfiction Prize winner, the recipient of the Emily Dickinson First Book Award, and several translations supported by the Lannan Foundation. Their published work is bold and award winning. New Directions New Directions was founded in 1936 and they publish about 30 new titles a year. They publish anything regarding literary fiction, poetry, memoir, nonfiction, and their annual revenue is roughly $1 million per year. It was the first American publisher of authors including Henry Miller, Vladimir Nabokov, and Jorge Luis Borges, among others. Tin House Books Publisher of award-winning books of literary fiction, nonfiction, and poetry; home to a renowned workshop and seminar series; and partner of a critically acclaimed podcast, Tin House champions writing that is artful, dynamic, and original. While they only publish about two dozen books per year, they are all astounding, and you can learn more about their small operation here. Europa Editions Europa Editions is an independent trade publisher based in New York. The company was founded in 2005 by the owners of the Italian press Edizioni E/O and specializes in literary fiction, mysteries, and narrative non-fiction. They have a few imprints, namely Tonga Books, and a series for mysteries known as Europa World Noir. City Lights Publishers Known for publishing Howl and other poems by Allen Ginsberg, City Lights Publishers is a great independent publishing option. Founded in 1955, with nearly 300 books in print, City Lights publishes cutting-edge fiction, poetry, memoirs, literary translations and books on vital social and political issues. For over fifty years, City Lights has been a champion of progressive thinking, fighting against the forces of conservatism and censorship. Forest Avenue Press Forest Avenue Press, founded in 2012 in Portland, Oregon, publishes literary fiction on a joyride and the occasional memoir. While they are currently a small-scale operation, they are growing in popularity in the Pacific Northwest. And That\'s Not All Of Them... And that is just the tip of the iceberg when it comes to the best publishers to consider! The best thing to do, when looking at what publisher to approach or consider, is to look at the books you love or that are most similar to your own and look at who publishes them. You may well be surprised, and they may well not even be on this list (which doesn\'t make them any less fabulous). A Publisher For Every Writer Writing a book and finishing it is a huge achievement in itself. Choosing whether to self-publish, look for an agent, or approach indie publishing houses yourself is the next step..and a large one. So take your time and choose your route to publication wisely. While I hope you found a few excellent book publishers to consider from this list, do keep in mind that there are many more that are worth your consideration. And however you choose to get your book out into the world (and all options come with a list of pros and cons) they all ultimately all lead to the same thing - holding your book in your hand one day and having others enjoy your words. Frequently Asked Questions Who Are The Big 5 In Publishing? The big five publishers in the world are: Harper Collins Simon & Schuster Macmillan Hachette Penguin Random House These five publishers make up over 90% of hardback book sales in the US and over 80% of paperbacks sold. What Is The Most Prestigious Book Publisher? In terms of the most established book publisher, Cambridge University Press, dating back to 1534. But in terms of revenue, iPenguin Random House generated revenues of 3.8 billion euros in 2020, up from 3.63 in the previous year. Which Publisher Is Best For First Time Authors? The best thing a first time author can do is find a great literary agent that specialises in whatever genre they write. Through that agent they will then have access to the very best publishers. Without an agent, you can\'t get near the Big 5! How Do You Pick A Publisher? To have access to the top publishers you need a literary agent, and they will know who to approach. But if you want to approach smaller publishers without an agent, or just curious as to who you\'d like publishing your book, then simply take a look at books that are similar to the one you have written and see who publishes them.

Natalie Chandler began researching and writing her debut novel, \'Believe Me Not\', in 2020, and attended the Summer Festival of Writing to build up her confidence before seeking agent representation. She\'s now represented by Liza DeBlock at Mushens Entertainment, and recently signed a deal with Headline Accent. Natalie kindly shares her story and some words of wisdom here.  JW: Tell us about finishing your book – where did the idea come from, and how did you go about turning that idea into words on a page?   NC: ‘Believe Me Not’ was born from a dream, believe it or not (delighted to have got a pun in so early on). I woke up thinking about a disorientated woman trying to find her baby son despite everyone she trusted insisting she didn’t have a child - and the idea just wouldn’t be quiet until I sat down and started writing.  I’m very much a pantser so I had no idea where the plot was going or what was going to happen. But my protagonist, Megan, was already fully formed and she drove the early chapters. I did a lot of research – I hate getting details incorrect – and was fortunate that one of my best friends works in the NHS and she not only patiently answered my countless questions but also put me in touch with other mental health professionals.  For the first time, I had no other distractions, due to the small matter of the world coming to a halt with a global pandemic. No lunch invites, no exhortations for ‘just one drink’ or weekend getaways. I was writing practically full-time and it was flowing like never before. I had nearly finished the first draft when I saw an advert for the Summer Festival of Writing and decided, since I was Doing This Properly, it would be a sound investment. It turned out I was right. I came away feeling empowered, knowledgeable, no longer a complete amateur – and ready to edit until I could edit no more.    JW: How did you land your agent? During the 2020 Summer Festival of Writing, I attended every webinar led by an agent. I wanted to learn as much as I could about submissions before jumping into the fray again, having previously tried to find representation for two earlier novels and been unsuccessful. Jericho Writers provided such wonderful opportunities to, for the first time, really discover the secrets of the industry and I felt much more confident in my submissions package after applying everything I’d learnt. I also booked several agent one-to-ones, which were nowhere near as terrifying as expected! One of the early ones was particularly brilliant. She ripped my opening pages to shreds and it really stung at the time, but when I sat down to work through her deeply perceptive notes, I realised she’d helped me improve tenfold and I was so grateful to her. From then, I had a stronger package to present at one-to-ones and I gained three more full requests from subsequent sessions.   By this point, I already had six full manuscripts on submission and was prepared to wait to see what the feedback would be when, out of the blue, I saw on Twitter that Liza DeBlock at Mushens Entertainment had opened her submissions that morning. I’d followed Liza for a while and really liked her style so I decided there was nothing to be lost in contacting her. She replied within hours asking for the full manuscript and just over a week later, I was signing on the dotted line in a state of wonder, disbelief and sheer joy.  It had been nearly a decade since I sent out those first tentative letters (no email back then!) seeking representation and I was so thrilled by the opportunity to become part of the Mushens Entertainment family – a dream agency I had followed since its creation – that I didn’t quite dare to believe it was finally happening.   JW: What was the process of choosing an agent after a number of full manuscript requests?   Liza was the first agent to call – she read the full manuscript in 48 hours and left me the most wonderful voicemail telling me how she loved it so much she’d stayed up half the night to finish it, which I intend to keep forever! As soon as we got talking, I was amazed by her excitement and her sheer passion for ‘Believe Me Not’. She already understood the characters and themes and we were completely on the same page regarding edits and improvements. I knew we’d clicked but Liza encouraged me to continue talking to the other agents who had the full manuscript and see what their thoughts were. They were all lovely and so encouraging but my gut was telling me I was going to accept Liza’s offer. My partner told me to listen to the voicemail again and said ‘anyone that enthusiastic is going to be your most valuable ally. She’s 100% committed to you and the book and you can’t ask for anything more’. That sealed it for me.  JW: What is your relationship like with your agent now?   Wonderful! Editing together was the best experience – the book grew stronger and I learned so much working alongside a talented professional for the first time. Liza’s cup is always half-full and she approaches everything with positivity. She checks in regularly whilst still giving me total autonomy in the writing process, and she always has time for me despite being super busy. I can discuss any problems or concerns with her and know I can trust her advice and guidance.   My partner told me to listen to the voicemail again and said ‘anyone that enthusiastic is going to be your most valuable ally. She’s 100% committed to you and the book and you can’t ask for anything more’. That sealed it for me.  JW: So you got your agent, but then what? What was the submissions process like?   ‘Nerve-wracking’ is probably the best description. There had already been interest from a number of editors when I gained representation so we started with a list of twenty initial submissions to mostly Big 5 houses after we’d done two rounds of edits. I knew there are always rejections so I’d steeled myself but we were getting fantastic feedback and after three weeks, the magic word ‘acquisitions’ was whispered. Days later, Liza called with the news that Headline Accent wanted to meet me and was offering a two-book deal – I was really going to be a published author!  JW: Has everything met your expectations so far, or have there been a few surprises?   As a debut, I didn’t expect to be given the level of autonomy and control I have.  Even though I’m learning fast, I’m still inexperienced, therefore I’d anticipated more instructions and fewer discussions. I was impressed that my thoughts and opinions are valued and how it has been constantly emphasised that it is my book and I am free to decide what works best.  Editing together was the best experience – the book grew stronger and I learned so much working alongside a talented professional for the first time. Liza’s cup is always half-full and she approaches everything with positivity. JW: Has this experience taught you anything about the publishing industry and pursuing your goals? Primarily, I’ve learned how lovely people in the publishing industry are! Everyone I’ve met has been so generous with their time, advice and encouragement. I’m very grateful. Don’t be scared to ask questions and take every opportunity to learn and network. If being an author is what you really want, understand it won’t happen overnight – sometimes it takes a decade. Stay committed through all the rejections and keep going – write anything, write everything, but keep honing your craft and growing as an author. You’ll feel like giving up many times but never forget you write, above all else, because you love it.  It’s all worth it the moment you get the voicemail that will change your life!  About Natalie Natalie Chandler was educated at the University of Durham and currently works in behavioural education, specialising in social, emotional and mental health issues.  Her debut psychological thriller \'Believe Me Not\' was written during lockdown and delves into the fractured mind of a woman abruptly diagnosed with psychosis, as she fights to prove the existence of her baby.  \'Believe Me Not\' will be published by Headline Accent in March 2022. Natalie is represented by Liza DeBlock at Mushens Entertainment and divides her time between London and the rural North of England. 

Entrepreneur and Jericho Writers alumna Jan Cavelle is phenomenally successful, having grown her own 20-year-strong business from scratch and published a book of expert insights into growing a business, ‘Scale for Success’, with Bloomsbury in 2021. Whether it’s a business or a book, the journey is never easy - and Jan kindly shares her experience of non-fiction publishing with us here.   January 2020 seems a different world away for all of us.  I was paying little attention to tales of an old lady dying of some unknown disease in remote China.  In fact, I had gone off-grid, telling no one what I was doing.  It was too big, too heart-stoppingly important to me.    One chilly day that January,  I hauled myself upright at around three in the morning and drove to London, terrified of missing my appointment.  I spent most of the four-hour wait in a tourist hotel pushing congealed eggs around my plate and wondering just how many cups of tea it was possible to drink.  Finally, I walked around the corner to the hallowed offices in Bloomsbury Square to stare in awe at the Harry Potters on display in reception.   I had gone off-grid, telling no one what I was doing. It was too big, too heart-stoppingly important to me. But let me take you back a little.  My childhood dream was to write a book, but life and, as a single parent, an abrupt need to make a living took over.  I started a business on a shelf under the stairs in our tiny Victorian cottage and, from non-auspicious beginnings, grew it to something mid-size.  Single parenthood and solo-entrepreneurship are both a recipe for isolation, so it would be years before I met other entrepreneurs.  Entrepreneurs are an interesting bunch.  They come from all sorts of backgrounds and work in virtually every sector.  They are hugely driven, often obsessive, yet the majority are far less judgemental, far less worried about who they are talking to, and more interested in the quality of what is being said.  Most – definitely not all, but most - are highly intelligent and have great stories to tell.  By chance, I saw a business publication advertising for a blog writer. Remembering my writing dreams,  I answered, and thus started a decade of writing for a digital publication called Real Business.  I also joined Jericho Writers.  When I finally parted company with the business, my first thought was retirement.  It took about two weeks for me to miss writing.   I went back to writing articles, but the dream of a book still niggled.  I started working my way through the Jericho Writers resources, focussing on the merits of attempting either self- or traditional publishing.    It took about two weeks for me to miss writing. I had decided to write about sales, my strength - and with the confidence I gained from the articles, I was somewhat cavalier about the writing.  However, to play safe, I submitted my first draft to be assessed by one of the Jericho Writers team.   My editors had always been rather nice to me, so I was unworried when it came to the feedback phone call.    By five minutes in, I was having to ask for a couple of minute\'s break because I was crying so hard that I couldn\'t actually hear. The expert tore it to shreds.  The concept was wrong, the writing careless on fact and atrocious on style.  It was the very definition of tough love.  It says much for my love of writing that I kept going, and much for his judgment that when I re-visited the manuscript a few months later, I was beyond appalled that I had even considered anyone reading it.    Chastened, I wrote another manuscript.  I followed all the instructions on the Jericho Writers website and researched likely agents and publishers.  I treasured the reply that told me it was well written (but not for them).  Elsewhere it was silent.    Relaxing in the glorious summer of 2019,  I had another idea.  People often advise you to write about what you know, and what I know best is how hard it is to scale a business.  I also knew that it is a business stage that many people struggle with.   Suddenly, I realized I had a subject that could potentially be of genuine use to a reader, unlike my somewhat self-interested previous attempts.  My problem was that I was no expert.  But I did know other people who had achieved the leap successfully.  I started off by attempting to interview friends and get their expertise.  Not an easy experience, with both parties in unfamiliar roles and keen to get back to the usual bottle of wine.  I dug out old contacts, people who I barely knew.  I trawled the net endlessly for businesses that looked on an upward curve.  A massive hulk of a book, going from start-up through scale-up, started to take shape.  People often advise you to write about what you know... Suddenly, I realized I had a subject that could potentially be of genuine use to a reader. At around three-quarters of the way in, I realized that I had forgotten the trad vs self-publishing quandary, and worse, I now had an obligation to do something with this thing to the people who had kindly given their time.  Back to my Jericho Writers knowledge bank, I went.  I knew that many of the people interviewed would be less than impressed unless it was traditionally published.  Old school, perhaps.  I spent a month putting together three submissions.  The one to Bloomsbury bounced back on my email.   That bouncing email was the wild piece of luck that we all need from time to time.  Tired and frustrated, I sent a quick tweet off to Bloomsbury to tell them the email was down. It was just before Christmas, so perhaps it was the festive spirit,  but I received a charming reply suggesting I send a brief outline of what I had been trying to send through to the respondee\'s personal email.  I thought no more about it.  Other publishers, too, were notably silent.   I was dumbfounded over Christmas to receive an invitation to come into Bloomsbury\'s offices. Hence finding myself pushing around the congealed egg in January.  The initial meeting was held in a room full of would-be writers, all of them having the weaknesses of their proposals pointed out to them by the editors.  The size of my project was demolished as being far too broad and my use of UK entrepreneurs was no use to a global publishing house.  I argued - I can split it.  I can get other entrepreneurs.  I was packed off to the country to form a submission.  Luckily I could still draw upon Jericho for it.  I muttered \"possibly for Bloomsbury\" into the ears of overseas entrepreneurs and found it a magic key to get them talking.  Hearing back is not a quick process.  The book had to be approved by several layers of international hierarchy.  At each stage, I was genuinely stunned and delighted to have got that far.  Finally, however, a contract was offered, and I was on my way to being (magic words) a published author.  I muttered \"possibly for Bloomsbury\" into the ears of overseas entrepreneurs and found it a magic key to get them talking. \'Scale for Success\' came out in February 2021 in the UK and July in Australia and America.  It contains the stories and wisdom of 30 genuinely amazing people from across the globe.  I didn\'t want to go for the Bransons or the Musks (not that they would have talked to me either), but I wanted relatable people, and I am still stunned by their stories.  Working with a range of people meant a vast amount of extra work.  They all had to be found, convinced that the idea was good, interviewed, and their approval of what I had written obtained.  If I hadn\'t so loved hearing their stories, it would have been a nightmare.  Non-fiction is unbelievably overcrowded.  The self-publishing market has gone wild under the \"a book is your business card\" mantra.  Looking for a backup plan, I spoke to a few of the publishing coaches who take a fat fee for helping you self-publish.  All were confused by my expressed desire to write \"a good book.\"  Entrepreneurs of decidedly mixed-level writing skills are employing hugely expensive PR companies to tout them as the next Tolstoy.  There is little chance to compete in the sunshine with that if you are writing for the love.   Reviews on Amazon are so precious – I can read the stars but haven\'t got the nerve to read the words.  As for the future, I am having a bit of a ‘what-now’ moment.  I produce a stream of business interviews and articles for my website and other publications, but I would love to do another book. Whether Bloomsbury or any other publishing house would love me to do another book is something for the future.  About Jan Jan Cavelle is a writer and entrepreneur who successfully grew and ran her own business for over 20 years. She was chosen as one of the first 50 Female Entrepreneurial Ambassadors to represent the UK in Europe and has been invited to speak on Newsnight. Jan contributed to Real Business for many years and her first book, ‘Scale for Success’, was published by Bloomsbury and cited by publications such as Elite Business, Irish Tech News, Medium, and the Undercover Recruiter.   Find out more about Jan here. Buy ‘Scale for Success’ from Bookshop.org here. Interested in Creative Non-Fiction? We offer a six-week crash course that could be the perfect way in to your new project, taught by Galley Beggar Press\' Sam Jordison. Find out more here. Read about finding an agent for your non-fiction here. Learn how to write a non-fiction book proposal here. Getting rejected by literary agents? Here\'s what to do next.

It isn’t easy, to become a children’s book author. From deciphering endless submission requirements to learning that your dream children\'s book publisher doesn’t accept submissions from authors without an agent, it can be difficult finding the right home for your work. In this article, I will endeavour to make the process of getting a children’s book published a bit clearer for you, as well as include my top picks for children’s book publishers. Because let’s face it, there are a lot of options out there, and you should be armed with the best possible knowledge out there. You’ll learn the submission requirements for some of the top children’s book publishers, as well as some examples of children’s books these companies have already published so that you can choose a publisher that aligns with your current book.  Still plotting your next book and unsure if you are writing at a level that’s optimal for children? I encourage you to read our existing post regarding everything you need to know about creating a children’s book, from start to finish! Now, onto the publishers. Best Children’s Book Publishers Before I discuss some of the top children’s book publishers and their most successful children’s books, I should note that not all children’s book publishers accept submissions directly from authors. Some only accept submissions from literary agents, and you should keep this in mind before falling in love with any one publisher. It is also important to know which category your work falls under. While this may not seem necessary right away, some publishers may only be looking for certain submissions at certain times. And some children’s book publishers may not even accept certain varieties of children’s books.  The most common submission types are as follows:  Children’s fiction Children’s non-fiction Children’s picture books/board books Of course, you can also further divide children\'s fiction and nonfiction by age group/demographic (middle grade fiction and nonfiction, YA/young adult books, chapter books etc), and by genre too (fantasy, action/adventure, romance etc) which further complicates the process of researching children\'s book publishers. If you are unsure if your current manuscript meets any of these categories, you may wish to consider our Children’s Manuscript Assessment program. Through this editing service, our  team of editors will read your entire manuscript and give you structured editorial feedback that you can use to craft your work into shape. If your editor thinks your work is ready, we’ll also help you find the right agent, for free. Now, let’s get onto the children\'s book publishers. Keep in mind that the following is only a summary list of some of the best children’s book publishers and that many more exist. I do hope that one of these choices suits your publishing needs perfectly! 1. Bloomsbury Children’s Books USA With offices around the world and prominent publishing houses in both the US and the UK, Bloomsbury Books is a top contender for children’s book publishing. Established in 1986, Bloomsbury has many popular children’s book authors across every age group. Their YA fiction has grown increasingly popular, their authors often topping the New York Times Bestseller list. Their kid’s division covers all books for any age, from picture books to young adult novels. Bloomsbury is known for publishing high fantasy YA fiction and heartwarming tales that help provide kid-friendly entry points into emotional intelligence topics. Some of their most popular authors and series are Ruby Finds a Worry by Tom Percival and Defy the Night by Brigid Kemmerer.  The unfortunate news is that, unless you have a YA book ready to go, Bloomsbury only accepts submissions from a literary agent. However, feel free to take a look at their website for any more useful information, including their various adult and children’s book authors. 2. Houghton Mifflin Harcourt Houghton Mifflin Harcourt, known as HMH for short, has gone through a few changes in its recent past. Now known as either Clarion Books or Mariner Books, this company has been a mainstay in children’s publishing since 1832. From board books to graphic novels, HMH publishes just about any children’s book you can think of. HMH has worked hard to develop programs for more unique voices in publishing, including new authors in their children’s publishing division. Entitled VERSIFY, this fantastic publishing program reflects a need for accessible and powerful prose and poetry—in children’s picture books, novels, and nonfiction. HMH strives to publish work that can celebrate the lives and reflect the possibilities of all children. For the most part, HMH is an agent-only submission publishing house. However, their VERSIFY program does accept unsolicited submissions during certain parts of the year. Learn more about HMH and its various submission opportunities here.  3. Holiday House Established in 1935 as a publishing company for young readers, Holiday House is a wonderful organization to submit your children’s book to. Their books are processed and distributed as a division of Penguin Random House, and they publish children’s books from ages 4 and up. From picture books to nonfiction informational handbooks, they are publishing some of the most creative and educational children’s books out there. Given their commitment to education and teaching children about major childhood themes, their website’s search engine for currently published books is in-depth and informative. From young readers books such as Lunch Box Bully by Hans Wilhelm to riveting and humorous YA fantasy like the Devil series by Donna Hosie, Holiday House no doubt publishes something for every kid in your life. Holiday House does indeed accept unsolicited submissions, which is great news for those of you without an agent. They don’t have the time to respond to every submission that they receive, but they will of course reach out if your manuscript interests them. You can learn more about their variety of books, list of awards received, and their submission process here.  4. Chicago Review Press An independent publisher founded in 1973, the Chicago Review Press strictly publishes nonfiction, including an award-winning selection of children’s nonfiction. They are firm in their desire when it comes to children’s picture books: they do not accept them, whether fiction or nonfiction. However, that doesn’t mean you are completely out of luck. If you have a fantastic nonfiction book for children, their submission process is clear and easy to follow on their website! While nonfiction children’s activity books are their bread and butter, their topics range broadly, from the history of American environmentalism all the way to Salvador Dali. There are a lot of perks to publishing with a small independent publisher, including the fact that they accept unsolicited submissions without an agent. If your book fits the niche that is the Chicago Review Press, they are an award-winning publisher that would be happy to have your nonfiction children’s workbook! 5. Flashlight Press Looking for another publisher searching for very specific submission guidelines? Check out the specificity needed from Flashlight Press, a children’s book publisher hunting exclusively for books that explore and illuminate the touching and humorous moments of family situations and social interactions through captivating writing and outstanding illustrations. What does this mean, exactly? Well, if your book targets 4–8 year olds, is under 1000 words, and has a universal theme fitting with many other Flashlight Press titles, you may have found a home for your book! Their titles vary wildly in themes, but all of them have to do with childhood themes and concerns. All of the books tend to tackle these themes with a sense of humor, such as I Need My Monster by Amanda Noll, and Carla’s Sandwich by Debbie Herman.  So long as you are familiar with the rest of Flashlight Press’s work and think your book has a similar thematic feel, their submission process is easy. Feel free to submit without an agent too, and check out Flashlight’s website here. 6. Simon & Schuster Children’s Publishing An American publishing company started in 1924, Simon & Schuster is a powerhouse, capable of publishing 2,000 titles annually under 35 different imprints. Their children’s publishing division is just as lauded and award winning, and they publish just about anything ages 0-12 as well as everything young adult.  There’s no shortage of award-winning selections published by Simon & Schuster, including the ever-popular To All the Boys I’ve Loved Before series by Jenny Han, and the City Spies series by James Ponti. Simon & Schuster may not be the easiest publishing company to publish with for your first book, especially because they don’t accept submissions without an agent. However, they should definitely be a publishing company to reach for as you grow as a children’s author! Learn more about them here. 7. Chronicle Books San Francisco-based favorite Chronicle Books has a wonderful eye for the unique and aesthetic storyteller. Their children’s books are beloved and unique, and this small independent publisher receives more than 1,000 submissions a month for their YA department alone! They publish most children’s books ideas, including activity books, art books, board books, picture books, chapter books, young adult, games, and gift and stationery items. While they accept a wide variety of children’s publishing themes, it is important to note that, since Chronicle receives so many submissions, they are hoping for the most unique and innovative stories out there. No pressure, right? At any rate, check out their submission process and desires here! 8. Ladybird Books UK-based and another division of the Penguin Group, Ladybird books is perfect if you’ve got a bedtime story to tell. Their lineup of children’s books is primarily geared toward younger audiences, from toddlers to roughly age ten. They have many award winning series published under their name, including many Peppa Pig books.  Their offerings also include a long list of informative nonfiction titles, such as books about the human body and our natural world. While publishing for any division of Penguin may seem complicated at first, they have provided an easy to read guide regarding their submission process. I believe having an agent would be useful if you are hoping to submit to any Penguin Group.  9. Quirk Books Looking for a smaller publishing agency for your unique and captivating children’s book? Publishing only around 25 books a year, Quirk Books is based in Philadelphia and is searching for the most original, cool, and fun ideas out there. Is your book creative enough for Quirk? It’s one of my favorite publishing companies, having taken the helm on series such as the Miss Peregrine anthology by Ransom Riggs. Quirk Books has a very informative and helpful submission page, found here. They have clearly outlined books that they are interested in, as well as appropriate emails for your submissions. From popular YA series to nonfiction books for young readers, Quirk publishes just about anything, so long as it’s quirky. 10. August House Publishers A more traditional publishing company, August House Publishers are seeking children’s book authors committed to folktales, diverse and memorable. They enjoy stories from many diverse backgrounds, as well as stories that work well as oral tales, stories meant to be passed on from generation to generation. They also have a soft spot for scary stories and stories that can be used in a classroom environment.  August House is committed to children’s publishing, and there’s no shortage of awards gifted to them for such a commitment. If you have a picture book made especially for young readers or a story related to folktales, stories from the oral tradition, stories from diverse cultures, scary stories and resource books about using stories or storytelling in the classroom, August House Publishers may be the right choice for you. You can email them and learn more about their submission process here. More Great Children\'s Book Publishers 11. Macmillan Children\'s Books 12. Hot Key Books 13. David Fickling Books 14. Balzer And Bray 15. Quarto Kids 16. Usborne Publishing 17. Hachette Children\'s Group 18. Little, Brown Books 19. Scholastic, Inc. 20. Lerner Publishing Group Frequently Asked Questions Who Is The Biggest Publisher Of Children\'s Books? There are several big children\'s book publishers, including: Bloomsbury; Simon & Schuster; Ladybird books; Macmillan Children\'s Books; Usborne Publishing; Hachette Children\'s Group; Scholastic, Inc.; and Little, Brown Books. How Do You Submit A Children\'s Book To A Publisher? To submit a children\'s book to a publisher, you first need to decide whether you want to find a literary agent first, contact the publisher directly (rare, but not impossible), or self-publish. It\'s helpful to do some research beforehand to find out where your book fits in the market (in terms of age range, genre, hook etc). Then, ensure your manuscript is as well-edited and finely tuned as you can make it, and then proceed to query agents, contact publishers, or begin the self-publishing process; whichever is applicable. Make sure that you carefully read the agent\'s/publisher\'s submission guidelines before sending your work to them. How Long Does It Take To Publish A Children\'s Book? As with any book, it can take quite a while to publish a children\'s book. Between coming up with the initial idea, planning, writing, researching, editing, and contacting literary agents/publishers or self-publishing, it requires a lot of time and effort. How much time varies widely on a case-by-case basis, but, from start to finish, it generally takes around 1-3 years. Of course, this is an approximation, and some books are published in far less time, while others take much longer to be published. Whether you choose to be traditionally published or self-published also makes a big difference. How Much Do You Make Selling A Children\'s Book? How much authors make from writing a children\'s book depends on whether they\'ve already published successful books or have an existing audience, whether they have foreign rights, and even things like how recently the book was released can affect sales figures. Writers generally get an advance; the amount of which can vary based on the popularity of the book\'s topic, whether they\'re a first time author or an experienced one, and many other factors. If the book has illustrations, the author will split the royalties with the illustrator (unless the author is also the illustrator), so they will both get around 3.5-6% of the book\'s sale price, rather than 7-10% royalites for the author of a non-illustrated children\'s book. If you have an agent, a proportion of your royalties will also go to them. Conclusion While I hope you found a few excellent children’s book publishers from this list, do keep in mind that there are many more that are worth your consideration. Whether you have an agent or not, there are always publishers seeking the best new stories out there. Yours could very well be one of them! What are some of your top publisher picks for your children’s book? Are you still crafting your book? I encourage you to take some time exploring our website for many publishing resources, and perhaps consider joining the world’s leading online writers club! Happy writing!

Aliya Ali-Afzal became a member of Jericho Writers in 2019, signing with her agent in 2020. Aliya’s debut novel, ‘Would I Lie to You?’, will be published by Head of Zeus in the UK and Grand Central Publishing in the US in July 2021. Having already proven to be in-demand at auction, it looks set to be incredibly popular. Aliya is represented by Juliet Mushens of Mushens Entertainment. We spoke to her about the working relationship between author and agent, and the surreal experience of choosing a publisher from an online auction.   JW: Hi Aliya! Great to talk to you. We’re really intrigued by the concept of your debut - where did the inspiration for ‘Would I Lie to You?’ come from?  AA: The initial inspiration came from something that happened in my own life. I had been on a big spending spree, and when I got home, my husband called to say he had lost his job. I felt a surge of panic - then guilt - as I thought about all the money I had spent, especially as my husband didn’t know about it. This sparked the idea about what would happen if someone had spent a lot more in secret, and unless they could put that money back quickly, they risked losing everything.  I’m fascinated by human nature and when I worked in London as a career and life coach, I saw how people’s sense of self can sometimes get caught up with how much they earn and what they have, rather than who they are. I also wanted to explore what happens after someone makes a terrible mistake. Can we ever put things right and can others ever forgive us?   JW: How did Jericho Writers membership help you with your writing journey?  AA: I became a member of Jericho Writers in the Spring of 2019, when I had just started editing my novel. I listened to every single podcast and video in the resource library! There’s a really broad range of topics covered including plot, characterisation, editing, writing cover letters and synopsis. I also loved watching Slushpile Live.  In September 2019, I attended the Festival of Writing in York for the first time and loved the panels and workshops. In my one-to-one session the agent asked for the full manuscript, which was an incredible boost for my confidence. It was also very helpful meeting other writers who shared their experience and tips about the submissions process. I felt inspired by hearing stories about writers who had found agents, after countless rejections!  All these things helped enormously when I started submitting in November 2019 - which resulted in me signing up with Juliet Mushens in January 2020. I would recommend that writers sign up with Jericho Writers immediately!  \"I became a member of Jericho Writers in the Spring of 2019, when I had just started editing my novel. I listened to every single podcast and video in the resource library!\" JW: In what ways have writing groups helped you along in your journey to publication?  AA: Our group meets every fortnight to give honest feedback, help with plot ideas, synopsis, advice on cover letters, agents, and publication. We also provide each other with that other vital ingredient for writers- moral support! The group has been invaluable and feels like having my own personal hotline whenever I need help!  Knowing each other’s work intimately, we feel comfortable enough to point out things that could be improved or are not working. By workshopping regularly, we also shift the focus from writing being ‘good’ or ‘bad’, to work that is simply being edited and improved. This is an important distinction. As well as learning how to give clear, productive feedback, it is important to know how to receive and process feedback too. Over the years, I’ve almost developed an intuition about which feedback I want to take on (often something that most people in the group agree on), and which elements of the feedback I disagree with. After a while, you learn to trust your own instincts as well, and it is important to be able to reject feedback sometimes too, even if you value and accept it most of the time.  \"[We] provide each other with that other vital ingredient for writers- moral support! The group has been invaluable and feels like having my own personal hotline whenever I need help!\" JW: Can you tell us about how you found representation with Juliet Mushens?  AA: Juliet was my dream agent and there were several reasons why she was at the top of my list. I knew that she represented some incredible writers, who all raved about what a great agent she was. She was super successful and brilliant at her job, but also seemed very passionate about it, which I admired. I followed her on Twitter and found that we shared a similar sense of humour and a love of beautiful dresses, which also convinced me that she would be my perfect agent!  I attended an excellent Guardian masterclass that she presented on how to find an agent, but was too shy to go and introduce myself or even ask a question. I did, however, take lots of notes! By the time I submitted to Juliet via the slush pile, I had done months of research about her wish list and wrote a targeted and personalised cover letter. Juliet asked for the full manuscript the same day that I submitted to her. Five days later, she emailed me to offer representation. It was, without doubt, the best email I had ever received in my life!  In total I submitted to five agents and it took me seven weeks to find representation. I had expected it to take months, even years, so I was blown away at the speed at which it all happened. Some of this was of course down to luck and timing too, but I think it also helped that I did months of research, preparation and hard work before I started to submit. JW: What’s your working relationship with your agent like? What do you think are the benefits of having an agent?  AA: Juliet is an incredible, extraordinary agent. Despite being insanely busy, she is always available for me and makes me feel as if I am her only client! She is direct and honest in her communication and I love that – I\'m the same and I feel comfortable saying what I think to her. We also instantly got on when we met, so I really enjoy working with her too.  The most valuable aspect of having Juliet as my agent is that I absolutely trust her opinion on both business and creative matters. I have consulted her throughout the publication process and value her advice. This is especially important as a debut, when you can feel out of your depth.  Juliet is also a brilliant editor, and gave me extensive editorial feedback. I love brainstorming with her, and it helps that we are both obsessed with working on the manuscript until it\'s perfect, however many rounds of edits it takes!  \"Juliet asked for the full manuscript the same day that I submitted to her. Five days later, she emailed me to offer representation. It was, without doubt, the best email I had ever received in my life!\" JW: Can you describe the auction?  AA: It was a surreal and very exciting experience. Under normal circumstances, we would have visited each publisher’s offices for the auction, but under lockdown, everything took place on Zoom. Each publisher’s entire team- editorial, marketing and publicity - pitched to me and Juliet, showing us presentations about their publication plans and creative visions for ‘Would I Lie to You?’ We also chatted to see how we got on.  After years of wondering if I would ever get an agent or any interest at all from a publisher, I suddenly had three publishers, each wanting me to choose them! It was a great feeling to have these amazing publishers telling me how much they loved my writing and discussing my characters with me. It boosted my confidence enormously, both in my writing and in my story. Juliet debriefed me after each pitch and outlined all the factors I needed to consider before making my decision.  JW: Do you have one last piece of advice for the JW members?  AA: Prepare, prepare, prepare, before you start to submit!    About Aliya   Aliya Ali-Afzal is studying for an MA in Creative Writing at Royal Holloway, University of London, and studied Russian and German at University College London. She is an Alum of the Curtis Brown Creative novel-writing course. Aliya lives in London and is a career and life coach.   Get Would I Lie to You? from Waterstones From Bookshop.org From Amazon Follow Aliya on Twitter: @AAAiswriting 

Paul Braddon discusses the publication process for his debut sci-fi/speculative fiction novel, ‘The Actuality’, published by Sandstone Press in 2021 and optioned by BBC Studios. Paul’s connection with Jericho Writers began with a series of manuscript assessments by Liz Garner. Paul also attended our Festival of Writing for several years and was shortlisted for Friday Night Live in 2013. He got his agent in 2018, and you can read about his journey to finding representation here. Set in a crumbling future England where human life has been bioengineered and subsequently outlawed, ‘The Actuality’ follows Evie, an example of near-perfect AI, as her hiding place is exposed and she is forced to take to the streets and make critical judgements about who she can and can’t trust. We loved that alongside explicit sci-fi themes, ‘The Actuality’ has notes of philosophy and human psychology which invite the reader to question what sets humans apart from machines. Its pace and journey-led structure would make it ideal for television. We sat down with Paul to discuss his debut, his experience working with his publisher Sandstone Press, and what it was like to have his work optioned by BBC Studios. JW: Hi Paul! When we last spoke, you had recently been signed by your agent. What role has she played since she took on ‘The Actuality’? The first thing Joanna (Joanna Swainson – Hardman & Swainson Literary Agency) helped with was making the manuscript as attention grabbing as possible. One of the challenges was ensuring that none of the tension dissipated during the opening chapters. To achieve this, I made sure that a reference to accumulating events appeared on every page. We also added a prologue to provide a foreshadowing of events and a chilling strapline (‘Fear makes her human / Humans make her fear’), which is now on the front cover of the hardback. Once the manuscript was ready, Joanna drew up a list of editors to approach and sent it out. We had favourable feedback from quite a few but Sandstone Press was first to the table with an offer. Joanna called to let me know in April 2019 – it was my birthday and the best birthday present I could have had. We were very happy to go with Sandstone. They’re a great indie publisher and having recently won the ‘Not the Booker’ with the dystopian ‘Sweet Fruit, Sour Land’ by Rebecca Ley, were keen to build a thread around speculative fiction. They had great ideas on how ‘The Actuality’ could be given a final polish and their enthusiasm was infectious. It took a few weeks to finalise the contract, with negotiations handled by Joanna, and then it came through to me to sign. JW: What has been the subsequent process of working with your publisher? Once the UK and Commonwealth rights had been acquired by Sandstone, the editorial work began. My editor, the talented Kay Farrell, gave me as the main challenge the reordering of section 4 (the novel is in five sections). She was absolutely right – the flow here was not working as well as it could. After spending a few weeks on a revised draft, I returned it and to my huge relief, had nailed it. The manuscript was then passed back and forth a half dozen times. It was all small things, like she’d challenge why a character was behaving in the way they were and I’d go back into a scene and try to understand her concerns. It was down to me to find solutions and make the changes. Kay’s role was to challenge but I’d usually find that she was right, and an improvement could be made. By October 2019 we had an agreed draft ready for proofreading. The proofreader – Georgie Coles – did an excellent job tidying the punctuation and ensuring consistency. Her changes were largely invisible – just as they should be – but afterwards the novel felt slicker and smoother. The cover then went out to the designer. I was asked to contribute ideas but had no expectation of what the creative mind of Heike Schüssler would come up with. The trade loves ‘different’ and her eye-popping, all-the-best-colours-from-the-children’s-paint-box design has garnered praise from all quarters and has been successful in heralding the novel’s literary ambitions. Christina Dalcher – author of the bestselling ‘VOX’ – submitted a lovely review and from it, the word ‘Exquisite’ was taken and added to the front cover. Next came typesetting and I was sent a pdf to check. Whenever I read the text through, I saw little things I wanted to change and although at this stage I wasn’t meant to be doing anything other than checking for typesetting errors, I persuaded Kay to allow me a few more tiny edits. Arrangements for the audiobook were also now completed. Sandstone don’t publish audiobooks themselves but sold the rights to W.F Howes – the audiobook specialist. The audiobook for ‘The Actuality’ is now complete and is read with great sensitivity by the actress Eva Feiler. Having been used to only hearing myself read my words, it’s such a pleasure to hear them spoken so movingly. In January 2020, I met with Ceris Jones, the Sandstone marketing exec, to discuss promotional plans, including the venue for the launch event – we were assuming a central London bookshop – and in the background I was compiling a list of attendees… …which is when the virus struck! Initially Sandstone tried to stick with July but when it became clear that bookshops would be closed, deferred publication to February 2021. The delay was a disappointment but also a silver lining, as it allowed time for an option for the TV/Film rights to be sold to BBC Studios, helping create a buzz ahead of publication. In the leadup to publication, social media activity has mounted. ARCs (Advanced Review Copies) have been sent out to reviewers to drum up excitement. One highlight is a piece on the BBC Culture website which positions ‘The Actuality’ in the footsteps of Mary Shelley’s ‘Frankenstein’. I think this is lovely and works on so many levels, not least in that there is indeed something of the gothic heroine in my ‘electric’ character Evie. The revised date for publication – Thursday 18th of February 2021 – is now upon us. As before, bookshops remain closed, but Sandstone have gained experience with online events and we have a Q&A on Twitter planned for lunchtime – plus hopefully an evening event to follow soon. I will also definitely have a proper launch party when circumstances allow and the wine can be safely shared around! ‘The Actuality’, Paul Braddon. Sandstone Press, 2021. JW: How would you place ‘The Actuality’ within the sci-fi/speculative fiction market?  ‘The Actuality’ straddles sci-fi / dystopia and literary fiction. What is rare about it, is that the story is presented through the point of view of the AI and maybe because of this, reviewers have engaged. In the words of The Publishing Planet: ‘As an exceptionally designed and advanced AI, Evie is outside the category of human but feels like the most human character in the book. Braddon’s ability to write about this rough and brutal world through the eyes of such an elegant and honest character is beguiling.’ I love that they love her. JW: The world in the novel is quite bleak – does this reflect your perception of what the future could be like or are you more optimistic? The setting of ‘The Actuality’ is 2135 and the impact of climate change has taken its toll on the environment and society. The UK has fragmented, suffers bitter winters and baking summers and the population has drastically shrunk as a result of a decline in fertility caused by unchecked pollution. All of this is completely plausible. However, our potential saviour is science – technological advance has created this mess, but it is quite within our wits to use further advances to find our way out. The rapid growth of electric vehicles is testament to this and the implementation of artificial intelligence will enable machines to aid us in the quest. JW: In very exciting news, ‘The Actuality’ has been optioned by BBC Studios! Can you explain what the process has been like so far?  It was amazing getting the news that we had an offer for the TV and film rights from BBC Studios. Joanna spotted the screen potential of ‘The Actuality’ right from the start. Her agency works with a specialist dramatics rights agent called Marc Simonsson who has all the studio contacts here and abroad and had been championing it, albeit the crucial lead came from a pitch made by Sandstone, with Marc expertly negotiating with BBC Studios to close the deal. The great thing about being optioned at this stage is that it gives us valuable pre-publication publicity. JW: What’s next for you, and how are you approaching new projects? ‘The Actuality’ was written as a standalone novel but the potential to develop the story is part of the appeal to BBC Studios and if a TV series is commissioned I might well revisit Evie’s world. I love dystopian/speculative themes and hope to work more in this genre. The novel I am currently working on however is a bit different – I’d love to say more because I’m very excited by it, but it’s early days and I can’t risk jinxing it! From Paul’s Agent, Joanna Swainson (Hardman & swainson Literary Agency) JW: Hi Joanna! Thanks for chatting to us. What was it about Paul’s manuscript that originally drew you to it? JS: I was initially drawn to Paul’s manuscript by the prospect of reading a novel set a hundred years in the future, in a ‘broken down England where technology has lurched forward then all but seized up’. This was how Paul described it in his pitch and although it sounds depressing, I immediately saw a vivid backdrop to a story with wonderful potential for exploring human nature. And then as soon as I started to read, I was hooked in by the atmosphere he creates and the protagonist, Evie, a beautifully drawn character who kept surprising me. JW: As an agent, what kind of thing are you looking for right now? JS: As an agent, I’m genuinely open to representing a wide range of fiction and non-fiction. Particular areas of interest in fiction are novels which explore the darker side of human nature, so crime and thrillers and horror (and folk horror). But I do also like funny and uplifting, too! And in fact, I think a book should put a smile on your face, whether it’s through humour itself, or irony, or sheer ingenuity of character or writing or whatever it is. We’re here to marvel and be entertained. I’m also a big fan of history and folklore, whether in fiction or non-fiction. JW: Could you comment on what it’s like pitching work in the sci-fi/speculative fiction market right now? JS: There are possibly slightly fewer editors you can approach for sci-fi/speculative fiction but pitching into this market is much the same as pitching in any other – it’s tough out there, but if the work is amazing then it should get the deal. If it’s speculative with cross over (i.e. book group or literary or other categories) appeal, then all to the better. But then sometimes you don’t really know if it will cross over until it’s published and embraced by the masses and it very much depends on how a publisher positions a book too. About Paul Braddon Paul Braddon lives in London with his wife Mary and son Thomas. He got the writing bug after coming runner-up in an essay competition as a teenager and went onto study English Literature at Reading University. You can check out Paul’s website here and follow him on Twitter here. Links to buy ‘The Actuality’: From Sandstone Press From Amazon From Bookshop.org Hardman & Swainson Literary submissions information here. Got a manuscript ready to submit? Our renowned AgentMatch database has up-to-date information on every agent in the UK and US – perfect for compiling your shortlist.

We first met Steffanie Edward in 2018 when she became the first recipient of our Self-Edit Your Novel Course bursary. Two years later, we caught up with Steffanie to find out what it’s been like to sign her debut contract with a digital-first publisher, without the help of an agent, discuss writing for oneself, getting past the first draft, and, of course, her fantastic achievement with Bookouture. JW: Lovely to chat with you. Where are you at with your writing process right now? S: At the moment I’m doing structural edits – it’s all new to me. I’ve had my work looked at through manuscript feedback, but it’s nothing like this. Structural edits are much more detailed, and all in your hands. Rather than being given specific suggestions on where and how to make changes, you’re tackling specifics where you have to read the whole novel again and again to tweak and implement changes. It forces you to go deeper into your characters, makes you interrogate who they really are and why. JW: Your debut, ‘This Other Island’, comes out in May 2021. What can readers expect from it? S: It’s fresh, it’s different. It has lots of twists, turns, and surprises. Working with my editor, Isobel Akenhead, is helping me produce a novel which will have the biggest impact on readers it can possibly have, and I’m loving it. JW: How did you land your book deal? S: I was submitting to so many agents and just getting nowhere. Three or four of them said nice things in their rejection, but it was still a rejection. Then I signed up for a book surgery offered by Peepal Press. It was suggested that mine was quite a common journey for black writers – they often end up at independent presses because they can’t get an agent, and so it was suggested that I tried submitting to independent presses, like Peepal Press. I felt quite demoralised, but I submitted to a few independents. And then the Jericho Writers Summer Festival of Writing came up. I watched the Bookouture interview with Jenny Geras, and thought, ‘I really like this woman.’ Sometimes you just get a really good vibe. Jenny was saying all these nice things about how they don’t believe in slushpiles and you don’t need an agent to submit to them. I still didn’t submit – I thought I’d just get another rejection. Then the Jericho Writers newsletter came out and Harry did a write-up on Bookouture. He was very encouraging. He mentioned that if you do the maths, you’re more likely to get through with Bookouture than you are with an agent, just based on the number of submissions they accept per year. And there was another Jericho Writers piece about Bookouture encouraging black writers to submit to them. So, in the end, I submitted twice! JW: How did you feel when you found out Bookouture wanted to publish your novel? I was so overwhelmed. I’d had so many rejections from agents, I think I’d had 28 rejections. But then Isobel’s email said she was so pleased my book was assigned to her because she ‘absolutely LOVED IT’. I couldn’t believe it – it was an amazing moment. Debi Alper [who runs our Self Edit Your Novel Course] was the first person I told because she was always there with me. Every little disappointment, every time I had doubts, she’d say ‘just keep going!’ Every time I contacted her, she came swiftly back and really helped to prop me up. JW: That’s a lovely relationship to have. Do you think you’ll contact Debi for the draft of your second book as well? S: Yes, I’ll always be running things by her! I feel really blessed that I’ve met her, that she believed in me and that she kept encouraging me to hang in there. ‘Keep submitting,’ she’d say. ‘You just need to find the right person at the right time.’ JW: How did you discover our Self-Editing Course in the first place? S: I joined Jericho Writers in August 2018 mainly because I’d get access to loads of webinars and other things that I could tap into to learn more about writing and getting published. Then I saw the Self-Editing Course advertised and I thought, ‘well, I’ve got this novel I’ve been working on for the last ten years. Let me see if I can get moving on it.’ I’m not working – well not paid work anyway. I look after my mum who has Alzheimer’s, so I applied for the bursary and thought, nothing ventured, nothing gained. When Jericho contacted me to say I’d been successful, I couldn’t believe it. That was my first opening door. “I feel really blessed that I’ve met [Debi Alper], that she believed in me and that she kept encouraging me to hang in there.” JW: What has it been like to work with Bookouture? S: So far, I’ve found everyone to be very on the ball, easy to talk to and efficient. When I was submitting to agents, I noticed how young many of them were and I remember saying to Debi, they’re not going to get me, they won’t get my story. Not only am I a mature writer, but I am also a black writer. She told me I should just go for it. My editor, at Bookouture, Isobel Akenhead is young enough to be my daughter, but she knows her work and has a good eye for what works and what doesn’t. Also, she loves my work and actually gets it. JW: That’s exactly what you need. Sometimes, especially for a debut author, the publishing process can be really daunting. What was it like to negotiate the deal without an agent there backing you up? S: I didn’t like it. It took me away from the creative process to something more business orientated. On Debi’s advice, I joined the Society of Authors, and I sent the contract to them for feedback and advice. They gave advice on things I should query, but very little changed at the end I thought I’d take a chance and be positive about Bookouture because this is the contract that would launch my career, and they seem like a great fit. Everything moved quite fast. I just couldn’t believe this was happening to me, or that I was the person this was happening for. JW: It must be very overwhelming. Bookouture do things like royalties slightly differently don’t they? S: They don’t do advances, but they give you 45% of your sales. It really suits me. JW: They’re doing a few things that are quite radically different, which I think is so intriguing. Are there any challenges that you’re facing right now as an author, and how are they different to challenges you might have faced in the past? S: I feel now that I’ve signed a contract, I’ve joined the big league. So, I can’t get demoralised, or say, ‘I can’t be bothered to write today.’ But the great motivating thing about it is that I’m not writing in the hope that a publisher or an agent will take me on. Things are clearer, I know the stories I’m writing will be published. I love writing, find it satisfying all my efforts are being rewarded and it’s exciting, so it’s all great. JW: How long have you been writing for? S: I started writing seriously in my thirties. I wrote a novel when I was living in Abu Dhabi, despite knowing nothing about writing. I sent it off to all these agents in England, and all of them said ‘get stuffed,’ basically. I abandoned it, and then when I came back to England I started going on courses and getting my short stories published. I was really into Octavia E. Butler, who wrote sci-fi. All her main characters were black, and I liked that about her – I liked that they were women as well. I thought perhaps I could write a story like that. My first novel, which was the one I submitted to the Self Edit Your Novel course, was literary fiction with Caribbean magical realism (there are lots of myths and legends in the Caribbean). I’d been writing that for so many years and couldn’t get past a certain point, and the course helped me to get past that point and actually finish it! JW: Let’s talk about first drafts. Do you have a method that you stick to? For example, do you give yourself a certain amount of words to write each day or set deadlines? S: That’s exactly what I do. For my second novel, which I’m writing now, as part of the Bookouture deal, the target is 1500 words each day. Sometimes I even manage 2000. For my previous novel, the target was 500 but then I realised I could do much more! You definitely have to have an element of planning. I didn’t do enough of that for my first novel. But as you’re writing it’s like some magic happens in your brain – ideas just come to you. Things just happen! You just have to keep going until you’ve got that first draft completed. Put it down for a bit, then come back to it for a second draft, which is likely to be more challenging than the first because that’s when you change things, find certain things don’t fit well into the plot; some characters disappear, another might enter etc. “That’s the writing process. It just has magic in it.” JW: How different is your final draft to your first? S: With ‘This Other Island’, I started the first draft thinking I’d only have one point of view and one protagonist. My final draft has three points of view and the plot itself has become much more intertwined – with more twists and surprises. Having to write a synopsis, query letter and pitch, helped me to identify the main theme in the novel. When I was submitting to agents, some asked which novel or author your novel would sit comfortably next to. Though irritating at the time, that helped to get me focused on the themes in my novel too. With the help of Isobel, I’ve identified more themes running through ‘This Other Island’. And I feel even more proud of the novel. I have always been fascinated by the consequences of not knowing who your parents are. JW: That’s interesting, where do you think that fascination comes from? S: I think it comes from my culture – perhaps a historical thing from slavery when many children were sold off and didn’t know their parents. Parents had children they had to say good-bye to and never see again. I think it’s important to know who you are, who your people are, and who you’re connected with biologically If you don’t, it could lead to dire consequences. JW: Of course. Do you feel like writing became a kind of catharsis in that sense? S: Maybe, but unplanned. The idea for this novel actually came from my mother, when I listened to her talking about her journey to England on a ship. Then whilst plotting and getting the story out, things came through and eventually the whole thing worked. That’s the writing process. It just has magic in it. JW: Do you have any tips for writers who might be working on their first draft? S: Have a plan – you don’t necessarily have to know the end, but make sure you know what the characters are going to go through and have a rough idea of what you want to happen. Many seasoned writers say write the first draft for yourself. Don’t worry about the reader yet. I agree. It’s the best method for me. From Isobel Akenhead, Steffanie’s Editor At Bookouture JW: You must see a lot of submissions at Bookouture. What was it about Steffanie’s novel that stood out for you? Isobel: From the moment I started reading Steffanie’s novel, I was captivated by the story she was telling, the characters she’d created, and her entirely distinctive voice. It was a book I couldn’t stop thinking about! In talking to Steffanie, it became clear that we felt the same way about this beautiful novel, and shared a vision on publishing and readership, that made the editorial partnership feel strong right from the outset. JW: What are you currently looking for at Bookouture and how can writers help their chances of success? Isobel: [At Bookouture] we have an open submissions portal, and are equally delighted by direct and agented submissions, which we endeavour to respond to within a matter of weeks. Writing a compelling synopsis, and enclosing the entire manuscript are practical things you can do to help its success, but in terms of content, we simply want powerful, gripping stories that readers won’t be able to put down. Whether that’s romance, crime, historical fiction, or more book club reads, broadly at Bookouture we’re just looking for commercially written stories that we think a large audience of readers will love. With two books already on the way, Steffanie Edward is a Self-Edit Course alumna to watch. We’re so glad Steffanie found our resources useful and can’t wait to see the debut of this exciting new author on our shelves. You can follow Steffanie on Twitter at @EdwardsaEdward. Don’t forget to view our bursary opportunities here. See more success stories from the Self-Edit Course for yourself at #SelfEditAlumni on Twitter. More about Steffanie’s deal with Bookouture here. Submit your work to Bookouture here. About Steffanie Edward Steffanie Edward was born in St Lucia but brought up in London. Her writing career started with short stories, five of which have been published. Two of them came runner-up in a Darker Times Fiction flash competition. Her novel ‘This Other Island’, was longlisted for the SI Leeds Literary Prize. Her first attempt at writing a novel was over twenty years ago, whilst living and working in Abu Dhabi. That novel, Yvette, didn’t make it into print, but the main protagonist, has muscled her way into Steffanie’s debut novel, This Other Island. Her second novel, My Mother\'s Gift, was released in 2022. The strong emotional themes in her novels make them very powerful book club reads. For more on Steffanie, see her Twitter or Amazon author page.

Neema Shah talks to us about her experience with Jericho Writers and her debut novel ‘Kololo Hill’. We were first introduced to Neema Shah on our Self-Edit Your Novel Course, and then at the Festival of Writing in 2017, where she was longlisted for two out of our three competitions that year. Her work was noticed by agents who were keen to read more, and now we can’t wait for the release of her debut novel ‘Kololo Hill’ (18 February 2021), the first in a two-book deal with Picador. We chatted to Neema about how she got her agent, balancing writing with other commitments and telling underrepresented stories.  JW: Hi Neema, lovely to talk to you! Could you start by telling us about your background as a writer? When did you know you wanted to be an author?  N: I actually started off doing a law degree and then went into marketing as a career. I only decided to take up a short creative writing course because my work offered us the chance to do an extra-curricular thing – and I was just hooked. I remembered how much I loved writing as a child, and now I just can’t imagine my life without it.   JW: It’s really strange how life can work out like that! Your debut novel, Kololo Hill, is coming out in February 2021 with Picador – where did it begin? Did you start with a particular character, or maybe a concept?   N: I grew up reading lots of fiction about other places and times, but I found that although there was fiction about the British-Asian experience and the Indian experience, there was nothing about people like my family. I also knew a bit about the expulsion of Asians from Uganda by Idi Amin in the 1970’s – I was always astounded that people could be sent out of their country in just three months. Those two things were really interesting to me, and that’s really what sparked my story. I wanted to explore different viewpoints, because people like my family aren’t necessarily that well represented in fiction.   JW: How did you discover Jericho Writers?   N: I found out about both the Festival of Writing and the Self-Edit Your Novel course back when Jericho Writers was called the Writers’ Workshop, and I used both in my early stages of writing. I had heard really good things about the Self-Edit course – all of which turned out to be absolutely right. Not only did I meet Debi Alper and Emma Darwin but I also met a really great writing friend, Daniel Aubrey, who continues to beta read for me. There are so many great things that come out of the Self-Edit course and I just love it. I’ve recommended it to so many people since.  Off the back of that, I decided to go to the Festival of Writing. That was such an incredible, intense day with lots of workshops – I also did the agent one-to-ones. There were three competitions that year – I came runner up in ‘Best Opening Chapter’ and was longlisted for ‘Pitch Perfect’. I’ve used those on my submission letters since and they’re really well-recognised!  I’ve had loads to do with Jericho Writers and you‘ve been a really key part of my journey.  JW: Do you have any tips for writers working on their first draft?  N: I really feel that a lot of writing is psychological. We spend so much of our time having doubts (which are natural), and you have to push those aside. In an early draft, it really is ‘just keep writing.‘. I’ve been thinking a lot about psychology through my day job in marketing, and the idea of the rational and emotional sides of the brain. When you’re writing, you want to ignore the rational side (which is telling you it’s awful) and access the emotional side. I know there are some writers who will write the first paragraph and edit it straight away, but I find it easiest to write a draft without looking back at all.  Keep on going past the next few drafts and accept that to get a novel finished it can sometimes be boring. It’s just keeping going that’s really important. You also have to have space away from your draft, because you’re far too close to it when you’ve just read over it.  JW: Can you tell us about your journey to finding an agent?   N: I did lots of research – I even made an Excel spreadsheet because I knew I was going to contact quite a few agents and would need to keep track of it all. I also went to events where agents were talking and read blogs so I could get a sense of what agents were like. I made a shortlist and starting by submitting to about 10-12 agents. I was lucky because some of the agents had been on competitions I’d been listed in, including the Festival of Writing, who had said they wanted to read more when it was ready.  I had a lot of rejections, but quite a few manuscript requests, which was brilliant. I ended up with two great agents offering to represent me and I was really spoilt for choice.  JW: I also wanted to ask about your gorgeous book cover – what do you think of it? I noticed that it’s modern Batik print – was that an idea that came from you?   N: I love it so much! It wasn’t the first version – the designer had come up with a few concepts based on fabrics and she wanted them to be related to the story. If you look closely on the cover you notice that as well as the Batik print, which is common to Uganda and India, there’s also an imprint of an Indian passport. There are so many little details working together which you might only see on a second look. I was blown away because I love looking at covers but I never considered how much thought and conscious choice goes into it.  ‘Kololo Hill’ by Neema Shah. Picador, February 2021 JW: How are the challenges you’re facing as a published author now different to challenges you might have faced in the past?   N: When I first started out, I didn’t know any writers at all. Doing the courses definitely helped, as I’ve kept in touch with quite a few people I met there. Twitter was also great for finding other writers, particularly ones to beta read for. There’s a massive writing community there, and the #bookstagram community is also huge.  I do think the publishing industry is getting much better for underrepresented writers (I’m an example of that), but I did have few experiences that I was quite taken aback by. There’s still a way to go, but it is better than it was even five years ago.  I also find there is a slight lack of transparency about what it’s like to be an author. Advances are all different and the way you’re treated in terms of marketing can be very different. Picador are brilliant and they’ve been really transparent with me, but from my understanding that’s not always the case. So, I think finding communities or people going through similar experiences is such a big help, and that’s a piece of advice I would give whatever stage you’re at with your writing.  At the one-to-ones with Jericho Writers, I got really detailed feedback on my opening chapters and my covering letter – that kind of thing can be quite hard to come by and looking for those resources can be really helpful.  JW: How do you organise your time between writing and generating free content for your online platforms (blog and YouTube channel) and having a day job in marketing?   N: The funny thing is that I wrote ‘Kololo Hill’ on my commute, on my smartphone! So, just making use of what would otherwise be dead time really helps. I’m lucky enough to have a good work/life balance as my job is quite flexible. That said, it’s only now that I’m promoting ‘Kololo Hill’ and starting book two and working a day job that it’s starting to feel like a bit much, so I am trying to get better at organising myself. It’s so important to save energy for your creativity – just being creative takes a lot out of you! I try to write early in the mornings before other things get in the way.   “There is a slight lack of transparency about what it’s like to be an author… Finding communities or people going through similar experiences is a big help, and that’s a piece of advice I would give whatever stage you’re at with your writing.”  JW: You mentioned that you’re a big fan of books on the writing process. Are there any other books, perhaps works of fiction, that particularly shaped your writing?   N: One of my favourite books is ‘Small Island’ by Andrea Levy (based on the Windrush generation, which definitely inspired me). My other favourite books aren’t necessarily the kind of thing that I write about but are things I’d love to write more of – ‘Fingersmith‘ by Sarah Waters is amazing – it has an amazing twist and I’d love to write a book with a proper twist because it’s so hard to do.  For ‘Kololo Hill’ I used a lot of blogs, online photography and a couple of TV shows. I also went on a research trip to Uganda. In terms of first-person experience there wasn’t that much available in writing though. That’s another reason why it was important to me to make sure that story was told, even if in fiction.  JW: Are you reading anything good right now?   N: I’ve been getting into audiobooks, and I’m listening to ‘Elevator Pitch’ by Linwood Barclay. I’m reading a proof I was given of ‘The Smallest Man’ by Frances Quinn, which comes out in January, and I also just finished ‘If I Can’t Have You’ by Charlotte Levin, which is a really good debut from 2020.  From Jenny Savill, Neema’s Agent (Andrew Nurnberg Associates) JW: Hi Jenny. What drew you to Neema’s work, and in what ways was it a strong submission?   JS: Where do I start?!  Her manuscript had a strong opening. The action was firmly rooted in a terrific sense of place and time – a place and a time that I knew a little about from TV as a child but had never really understood. Seeing the 1972 expulsion through the lives of one particular family and their friends was such a brilliant lens through which to show a massive political and social upheaval. That coupled with distinctive, flawed characters whose story I felt compelled to follow, and whose lives continued in my imagination long after the last full stop, made for an impressive submission. I do love a novel that illuminates a life or lives in a way that does away with preconceptions or conventions. I love to be surprised by characters and by the turn of events in a story. ‘Kololo Hill’ does this beautifully.  As an agent, Jenny is always keen to find new voices in 7+, Middle Grade and Young Adult writing. Jenny also represents authors writing for adults. She is on the look-out for writers of literary fiction, commercial and literary women’s fiction, well-written thrillers and psychological suspense, historical fiction (the whole gamut – including alternate histories), memoir and narrative non-fiction. She welcomes originality, depth, and the ability to move and surprise in submissions.    If you’re interested in submitting your own work to Jenny or other agents, AgentMatch is a great tool to refine your search and develop your perfect shortlist. Find out more here.    If you can’t wait until 18 February to read some of Neema’s work, take a look at her website here for more insightful writing tips.    More about Neema Shah here.   About Neema Shah Neema Shah is an author, blogger and marketer. Her debut novel Kololo Hill will be published by Picador on 18th February 2021. She came runner-up in the ‘Best Opening Chapter’ and was longlisted in the ‘Pitch Perfect’ competition at the Festival of Writing in 2017. She has also been shortlisted for the DGA First Novel Prize and Bath Novel Award, both in 2018.

Sample Query Letter & Template Included You want to know what a great query letter to literary agents should look like? We’re going to show you a perfect sample letter in a moment. But we’re also going to figure out what your query letter needs to do – and how you’re going to write it. This blog post will give you everything you need – and I promise that if you are talented enough to write a book, you are EASILY capable of writing a strong, confident query letter. OK. We’ll get stuck in in one second. But I should probably tell you that I am a real author describing a real book. The query letter below pretends that this book is a first novel and I have no track record in the industry. That\'s obviously the case for most people reading this, but if you DO have a track record of note, then for heaven\'s sake tell agents about it. Boasting is good! What A Query Letter Should Accomplish Your query letter needs to accomplish the following goals: Introduce the purpose of your letter (ie: to secure representation). To define in a very concise way the manuscript that you’ve written (ie: title, genre, word count). To introduce your work at slightly more length – so you say what it is (setting / setup / premise / main character). To give a sense of the emotional mood of your work – what is the emotional payoff for the reader? To give a hint of your book’s USP or angle. To help the agent understand where your book would fit in the market by including comparable titles and agent personalisation. To say something – not much – about you. The Structure of your Query Letter Here\'s the structure that most query letters should take. There are some exceptions (notably non-fiction and literary fiction), but for most purposes your query letter should comprise the following: Introductory sentence – include your purpose for writing (you’re seeking representation!) book title, wordcount, genre. 1-2 paragraphs about your book – what your book’s about and why a reader will love it. A brief note about you – who you are and why you wrote the book. We’ll expand on these things shortly. A sample query letter First up, however, here’s a query letter of a sort that would make any sane agent want to start reading the manuscript in question: Dear Agent Name I’m writing to seek representation for my first novel, TALKING TO THE DEAD, a police procedural of 115,000 words. The book opens with news of a murder: a young woman and her daughter have been found dead in a rough area of Cardiff, Wales. The house where they’re found is in poor condition, but in the corner of the room is a platinum bank card belonging to a local millionaire. A millionaire who died in a plane crash some nine months previously. New recruit, Detective Constable Fiona Griffiths is assigned to the investigation. Puzzling as this crime looks, it’s not the heart of the book’s mystery. It becomes rapidly clear that Fiona Griffiths herself is a very peculiar woman, who is withholding crucial secrets from the reader. Who exactly is her father? What was her childhood illness? And what is it with her and corpses? I currently run my own small consultancy business, and this is my first novel. I look forward to writing further novels in the series. I enclose the first three chapters and a synopsis. I hope you like what you see and look forward to hearing from you. Yours, Harry Bingham Simple right? And you can do it, no? Here’s that query letter again with my comments highlighted in bold: Dear Agent Name [probably Jenny Smith, for example, rather than Ms Smith or just Jenny. But do check spellings, please! Someone called Jon may be annoyed to be addressed as John.] I’m writing to seek representation [the purpose of you getting in touch] for my first novel, TALKING TO THE DEAD, a police procedural of 115,000 words. [title, genre, word count – all defined fast and clearly.] The book opens with news of a murder: a young woman and her daughter have been found dead in a rough area of Cardiff. The house where they’re found is in poor condition, but in the corner of the room is a platinum bank card belonging to a local millionaire. A millionaire who died in a plane crash some nine months previously. [This sets up the basic premise of the crime story. Already, the agent has the basic co-ordinates she needs to navigate, including location. I haven\'t explicitly mentioned that this is a contemporary novel, but if it\'s historical or speculative you certainly need to spell that out.] New recruit, Detective Constable Fiona Griffiths is assigned to the investigation. [Introduce main character – clearly and succinctly.] Puzzling as this crime looks, it’s not the heart of the book’s mystery. It becomes rapidly clear that Fiona Griffiths herself is a very peculiar woman, who is withholding crucial secrets from the reader. Who exactly is her father? What was her childhood illness? And what is it with her and corpses? [This hints nicely at the book’s mood and USP. It starts to suggest the emotional payoff – a mystery to do with the book’s central character. In effect, this is where you deliver something like the book\'s elevator pitch - the reason why the agent has to know more.] I currently run my own small consultancy business, and this is my first novel. I look forward to writing further novels in the series. [A line or two about me. Confirmation that I understand I’m writing a series – an important touch for this kind of fiction. If you are writing in any genre that expects a series (eg: plenty of children\'s genres) make it clear that you understand that expectation.] I enclose the first three chapters and a synopsis. I hope you like what you see and look forward to hearing from you. [Wrap it up. The whole letter easily fits onto one page. And yes, I know you’ll be sending an email, but you know what I mean.] Now you know what you’re doing, we’ll get into a slightly more specific analysis. The Components of Your Query Letter The 1 Sentence Summary You need to say why you’re writing. (You’re seeking representation, right? So say so.) You need to give the title of your book, either underlined or (better) in italics, please. You need to give the word count of your book, rounded to the nearest 5,000 words. (And one word of advice: just be sure your word count is approximately right for the market. Advice here.) You need to give the approximate genre or territory of your book. If you do those things, the agent can instantly understand what you want and what you’re offering. You will also, by the way, prove yourself to be a swift, professional writer. It\'s absolutely fine to model your sentence after the one I\'ve given you above. It\'s my copyright, but I don\'t mind a bit of plagiarism. What\'s your genre? It\'s all very well for me to tell you to define your book\'s genre: my books have a really clear, easily named genre. But that\'s just not true of lots of books. If you\'re writing a historical novel involving a cross-cultural romance amidst the wars of the 18th century Ottoman empire - what is that book? A romance? A war story? Historical fiction? The simple truth is that it\'s all of those things and agents aren\'t that fussed about putting things into neat boxes, because fiction has never come in neat boxes. So just describe the book, in 1-2 sentences. \"The novel follows Ali, a caliph in the 18th century Ottoman empire and his romance with Anya, a Balkan servant girl. The novel centres on the XYZ war and has its climax during the 17xx siege of Dubrovnik.\" Now, I\'ve just made that up - I don\'t know if there was a siege of Dubrovnik, but you can see that I\'ve explained what kind of book this is without needing to reference a genre. If your book doesn\'t fit any neat category, then just do the same. The 1-2 Paragraph Introduction To The Book First, it’s important to say what this is not. You are not writing a back-of-book blurb. But nor are you writing a detailed outline of your story. (That’ll come in the form of your synopsis – get more synopsis help right here.) What you are doing is explaining what your book is and why a reader will feel compelled to read it. That ‘what’ element will typically be a matter of presenting some facts. You need to give some more information about your settings, your premise, your characters and so on. You don’t need to be as salesy as a cover blurb, and you don’t need to be as dry as a synopsis. It’s almost as though you were chatting to your best friend and telling her about the book you’ve just been reading. The ‘why’ element is equally crucial. Here, you are conveying something about emotions. What is a reader going to feel as they read the book? What kind of atmosphere will they inhabit? What kind of emotional payoff or challenge is likely? Comparable Titles Including comparable titles is a clear and simple way to help authors understand where your book fits in the market. It\'s important to query agents who specialise in your genre, and comparable titles help them get a sense of where your book would fit in with their list. Some people choose to include this in the introduction of their query letter, while others add it in later on; you can place it anywhere that suits you. The standard advice is that you should try to include two or three comparable titles. You could reference them by saying \'readers of x, y, and z would love (your book)\' or \'x meets y in (your book)\'. Make sure that you also describe why your book is unique and detail the extra elements it adds to the books you reference. Personally, I\'m a little sceptical that agents always need this kind of triangulation. Done badly, and it can seem a bit crass - a bit unsophisticated. For this reason, and if you do choose to go the comparable title route, it\'s important that the titles you use are genuinely similar to your book. Though it can be tempting to reference books you admire, it\'s helpful to show an understanding of the market you\'re writing in and give the agent a sense of the overall tone/style of your book. The titles should be commercially successful and contemporary (ideally from the last two years or so) to show your agent why you think your book will sell in the current market. Oh yes, and don\'t just pick the current genre bestsellers as your comps. That\'s a bad idea for two reasons: first, everyone else will do it, and second, it\'s actually important you pick the books and authors that really do give the agent a real clue as to what you\'re all about. That could be the book currently at the top of the NYT bestseller list ... but it probably isn\'t. Agent Personalisation Agent personalisation is a very brief part of your query letter, but it\'s an important one. Lots of writers eagerly send query letters to lots of different agents, and agents want to know that you put some thought into deciding to contact them specifically. As with comparable titles, this is a section which can go anywhere in your query letter. Providing an agent with a specific reason why you chose to query them will help make your query letter stand out, and it also shows that you\'ve done your research. Maybe they represent an author in your genre who you\'re a big fan of, and that\'s how you found out about them. Or perhaps you discovered them on Twitter, or went to an event they took part it where something they said really resonated with you. Let them know! Including this element of personalisation will make your letter more memorable. Again, don\'t do this on auto-pilot. If you genuinely have a particular reason for writing to this particular agent, say so. If not, keep silent. Most agents have 2-3 big name authors and a horribly huge proportion of the query letters coming to those agents say, \"I am writing to you because you represent Famous Author X and I think that my book ...\" Yeah, right. If in doubt, just keep quiet. A Brief Introduction To You, The Author About you Luckily, agents don’t care too much about you. Nor should they. They should care about the book, and only the book. That’s a fine, honest, meritocratic approach. May the best book win! That said, agents are obviously curious about the person behind the manuscript. So tell them something about yourself. It’s fine to be human here, rather than resume-style formal. It’s also OK to be quite brief. For example: “I am a 41-year-old mother, with three children, two dogs, one husband, and the finest vegetable garden in the southwest.” That\'s much better than \"I spent twelve years as an ACPO-registered bookkeeper with a variety of small and medium enterprises by way of clients. I was nominated for the New Mexico Young Bookkeeper Award three times, and was successful on one occasion (2003).\" Believe me, agents don\'t care - and nor should they. Your manuscript matters. You don\'t ... much. Why you wrote the book If there is a real connection between who you are (a shrimp fisher, let’s say) and the book you’ve written (something to do with the sea and fishing) then it’s worth another sentence or two to tease that out a bit. But don’t feel compelled to do that. In my case, I wrote a crime novel, just because I wanted to write one. I’m not a cop or ex-cop. I have no forensics expertise. I have no legal expertise. Or anything else relevant. And that doesn’t matter, of course – what matters is the quality of the book. So if you have something good to say, say it. If you have nothing to say, then say nothing and don’t worry about it. Your previous writing history If you have some real background as a writer, then do say so. For example, you might have written a textbook or similar on a topic relevant to your own professional area. Or you might have won or been shortlisted for a major short story prize. Or perhaps you work as a journalist or copywriter. Or something similar. If anything like that is the case, then do say so. But if it’s not – don’t worry! We’ve seen a lot of agent query letters that say things like “I haven’t had much writing experience, but my English teacher always used to say that I would be a writer one day . . .” And, you know what? It just sounds feeble. So don’t say it. Agents know that most slushpile submissions will be by complete newbie authors. And that’s fine. JK Rowling was a newbie once . . . Writing a series? If you are writing a series, then you should say so, much as I did in that sample letter above. Agents will like the fact that you recognise the series potential of your work and that you are committed to taking the steps needed to develop it. What you don’t want to do, is sound overly rigid or arrogant. (“I have completed the first four novels in my Lords of the Silver Sword series, and have got complete chapter outlines for the next 11 titles. I am looking for a publisher who will commit fully to the series.” — if you write something like that, agents are likely to reject you out of hand.) How Long Should Your Query Letter Be? Your overall letter should not run to more than one page. (Except that non-fiction and literary authors can give themselves maybe a page and a half, maybe two). And that’s it. If you\'ve written your query letter, and would like some feedback before querying agents, why not purchase an agent submission pack review from us. We can help YOU get published.Did you know, we have a complete course on getting published? The course covers absolutely everything you need to know: how to prepare your manuscript, how to find agents, how to compile your shortlist, how to write your query letter and synopsis – and much, much more besides. That course is quite expensive to buy . . . so don’t buy it. The course is available completely free to premium members of Jericho Writers. Not just that course. You get our Agent Match tool for finding literary agents. You get our awesome How To Write course. Plus our members get regular opportunities to pitch their work live online to a panel of literary agents. Sounds good, doesn’t it? So hop over here and find out more about joining us. Query Letters: The Exceptions OK, there are a few exceptions to the above rules. Of those, the two most important ones you need to know about are: You Are Writing Literary Fiction If you are writing genuinely high end literary fiction, agents will want you to strut a little, even in your query letter. So if you were writing about (Oh, I dunno) a fictional nun in 14th century Florence, you might talk a bit about the themes of your work and what inspired you to pick up this story. This kind of thing: “I got the idea for this story, while working as a game warden one winter on the Hebridean island of Macvity. I was all alone and with a deeply unreliable internet connection. It occurred to me that my solitary life had its religious aspect and I became very interested in female monasticism. Blah, yadda, yadda, blah.” (Sorry for the blahs, but personally I like books that have corpses in them.) The idea of this kind of approach is that you are selling the book (its themes, its resonances), but also you’re selling yourself – you’re showing that you can walk the talk as a literary writer. You Are Writing Non-fiction And You Have A Remarkable Platform Let’s say you are writing a cookbook and you have a couple of million people who subscribe to your YouTube channel. Or you are writing a book about motorcycle repair and you have a motorbike-themed blog with 250,000 monthly readers. In those cases, you have to delineate your platform in enough detail to convince an agent (and ultimately a publisher) that you are the right person to write this manuscript. In those cases, then your query letter does need to outline your platform in sufficient detail. You may even want to kick that outline over into a separate document. However you handle it, the “one page query letter” rule can safely be binned. Your prospective agent wants to know what kind of platform you can supply – so tell her. Oh yes: and having a website is not a platform. Having 10,000 followers on Twitter is impressive, but means nothing in the context of national or international marketing. In short: if you are going to make a big deal of your platform, your platform itself needs to be a big deal. That means having six- or seven-figure numbers to boast about. Nothing else will really cut it. You Are Writing Non-fiction And You Have Extraordinary Authority Much the same goes if you are (let’s say) writing a book of popular psychology and (like Daniel Kahnemann) just happen to have a Nobel Prize to wave around. If you bring amazing authority to a topic, then you need to cover that, either in your query letter or a separate bio. Again, the one page rule just doesn’t apply. Literary Agent Etiquette So. Let’s say you’ve got a shortlist of agents. You’ve checked those agents’ websites for their specific submission requirements – probably opening chapters + query letter + synopsis. You use our query letter sample and write your own perfect query letter. You avoid any weak language, misspellings or grammatical howlers, of course. You use our advice to put together your synopsis (advice right here). You don’t spend too long on writing the synopsis either, because if you use our techniques, that process is simplicity itself. You read the opening chunk of your manuscript one last time – and follow our simple rules on manuscript formatting. And then – well, you send your stuff off. You light some candles, pray to your favourite saints, tie a black cat into a knot and throw a mirror over a ladder. (Or under it? Or something to do with a wishing well? I’m not sure. Superstition isn’t my strong suit.) Anyway. You get your stuff out to at least 6 agents and preferably more like 10-12. You wait an unfeasibly long amount of time – but let’s say 6-8 weeks as a rough guide. What happens next? Well. Rejections do happen, and are likely to happen even if you’ve written a great book. (Because agents have their hands full. Or just like a different sort of thing. Or have an author who is too directly competitive. Or anything else. It’s not always about you or your book.) But if you send your material out to 10-12 agents, and find yourself being rejected, then you have to ask yourself: Am I being rejected because I’ve chosen the wrong agents? Am I being rejected because my query letter / synopsis are poor? Am I being rejected because my book isn’t up to scratch? Truthfully? The third of these issues is by far the most common. If you’ve written a great book, and a rubbish query letter, you can still find an agent. The other way around? Never. If you are confident that you’ve gone to the right agents, and have been rejected by 10+ people (or heard nothing after 8 weeks, which amonts to the exact same thing), then the probable truth is that your book is not yet strong enough for commercial publication. And, you know what? That’s not a big deal. All books start out bad. Then they get better. So getting rejected is really just a signal that you still have further to travel down that road. (Find out about the type of rejection letters to look out for here.) Remember that getting third party editorial advice is the standard way of improving your work. We offer outstanding editorial help and you can read all about it here. Alternatively, join the Jericho Writers family, and you can get a ton of help absolutely free within your membership. Free courses on How To Write. Free courses on Getting Published. Free access to AgentMatch. And so much more. Find out more here. Happy writing, and good luck!

It’s easy to copyright your work. We explain exactly how to do it and what you can hope to achieve in this article. What Is Copyright? You’re probably reading this because you’ve created something – a book, a novel, a story, a play. Whatever. Good. You now own the copyright in your work, which means that you have the absolute right to control its use and distribution. If someone tries to copy your work without your permission, you have the legal right to stop them. If you wish to license or sell your work to a third party on defined terms – such as a book deal with a publisher – then you have the right to do that too. That all sounds simple, right? And in essence, it is. Unsurprisingly, though, there are some twists and turns, so it’s worth reading all the way to the end of this post before deciding what to do. Is Copyright Automatic? The first surprise, for some readers, is that copyright protection is automatic. In other words, you acquire copyright protection for your work simply by writing it down. As soon as the words have left your fingertips – as soon as they’re marks on a page or screen – they belong to you and no one can copy them. The trouble is that there are two ways in which it is, in theory, possible to copy someone’s work. Direct copying of text. If someone just takes all or part of your text and copies it out word for word, that’s a breach of your copyright. In the most egregious cases – like e-book pirates simply stealing your book and selling it online – the offence is utterly obvious and beyond dispute. But that’s not the only way that illicit copying can occur … Copying of ideas, characters, sequences, concepts. But it’s also possible for a breach of copyright to take place even without direct copying of text. For example, suppose I decided to take Delia Owens’ smash hit Where the Crawdads Sing and rewrite it in my own words. I might decide to use my own words and a new set of character names, but to leave every single plot incident, emotional moment, and so on exactly as in the original. In that case, I would be breaching Owens’ copyright as surely as if I’d just written the whole thing out word for word. If Owens chose to sue me in a court of law, I’d most certainly lose. You can read more on that, here. Now, all that seems pretty damn obvious, but there’s an ugly little legal loophole that remains open. If I’d copied Crawdads out word for word, everyone would know that I’d copied and where I’d copied it from. There’s just no possibility that my copying was a remarkable coincidence. But what if the themes / characters / plot twists seemed very similar, but had some differences? You might say my version of the book looked eerily familiar … but there are supposedly only seven plots in the world anyway. Themes of death, parenting, coming of age, self-expression and so on (all themes to be found in Crawdads) are common enough. Maybe two different authors just happened across the same basic set of ideas. Now if you were Delia Owens and wanted to prove that my version of the Crawdads story was a deliberate knock-off of your own, you’d have to prove, in court, that I had read your book before composing my own version. If you could achieve that level of proof, you’d probably win the trial. Fail, and you’d probably lose. That feels like a really tricky problem to solve... but it’s the problem that copyright registration was born to solve. Why Register Copyright In Your Work? Registering copyright can solve two problems for you. They are: How can you easily and simply prove that you are the author of a given work? And how can you easily and simply prove the date on which your manuscript was complete? How can you get around the issue of having to prove that a given plagiarist had accessed your story before their copying began? Fortunately, there are solutions to both of these conundrums. There’s a cheap, easy version that does a bit less for you. And there’s an annoyingly bureaucratic and pointlessly expensive version that does more. Here are the options: How to register authorship and date of production If all you want to do is prove that you are the author of a given work and that your work was completed by such-and-such a date, then you can just use an online ‘copyright vault’ service, such as Protectmywork.com. Using such a service will solve the “whose work, what date?” issue. It will not solve the second issue highlighted above. If someone copies your ideas and plot, but doesn’t snatch your exact wording, you would still have to prove that the plagiarist had read and used your work. That’s going to be tough. For that reason, anyone really serious about copyright, will take the more complicated – and official – action below. The advantage of this cheap and cheerful version of protection, however, is simply that it’s cheap and cheerful. So for $50 / £30, you can copyright-protect not just one document, but many. If you’re prolific and want the assurance of proper legal documentation of your authorship, this is a very low-cost way to achieve what you need. But let’s say you want to do things properly, in that case you’ll want to register copyright with the US Copyright Office, part of the Library of Congress. How to register your work with the US Copyright Office If you register your work with the US Copyright Office, you will prove that you are the author of a given work. And the date of production will also be proved. But better still, if you register your work with the Copyright Office, anyone copying your work will be automatically deemed to have read it. So Delia Owens no longer has to prove that I’ve read her Crawdads book. If she (or more likely her publisher) has registered her work, then any court will simply assume that I have read it. Then the legal argument will simply revolve around whether my version is or is not too close to her version to constitute copying. That’s a win, right? The trouble is, the cost is a lot higher ($100 per document registered) and the process is annoyingly bureaucratic. The form you need to fill in is here. You need to print out that form, fill it out, and send it off with cheque for $100 and a paper copy of your work to: Library of Congress Copyright Office-TX 101 Independence Avenue SE Washington DC 20559-6000 And yes, I know. A printed form! And a paper copy of your work! And this is in the 2020s, not the 1920s or 1820s. But there you go. Bureaucrats just wanna bureaucratise. If you’re really serious about protecting your work, that’s the route you have to take. But before you start printing forms and scribbling out cheques to the government, just pause a moment to think what you will achieve and whether it’s worth it. Will Copyright Protection Defeat Plagiarists? Arguably, the big question is simply whether copyright protection serves any practical purpose at all. And that means considering the world as it is. (You might want to peruse this list of plagiarism scandals as a reminder of how these things actually operate.) And here’s what we learn: Are publishers or literary agents likely to steal your work? No. Because their business would come to an abrupt, juddering, nasty halt as soon as they were caught, which would be pretty damn soon. I’ve read around a little bit and can’t find any bonafide case of an agent trying to steal and profit from an unpublished author’s work. OK, maybe there’s a case somewhere that I’ve missed, but the literary agent community receives hundreds of thousands of manuscripts a year. Stealing just basically doesn’t happen. You should worry about lightning strike or asteroid falls before you start to worry about those things. Are professional book pirates likely to steal your work? Yes. Or rather: no, if your book never really achieves any sales. But yes, definitely, if your book sells enough copies to seem worth thieving. I’m not going to dignify any of those plagiarism websites with a link, but they exist. And they are there to steal books. So if your book is selling well on Amazon at $7.99, there’ll be a plagiarist selling the exact same text at $0.99 or less. They don’t have to actually copy out your text to do that. They just have to break the DRM lock on your ebook (easily done; it takes two minutes), then they copy the file. I don’t know any properly bestselling author (including me) whose work has not been pirated. Will copyright protection defeat the pirates? No. Of course, it won’t. They’re thieves. They steal stuff. Those websites are commercial enterprises which exist to profit from theft. So what about you send those guys a cease and desist notice? What about you actually hire a hotshot, $600-an-hour lawyer to go after them? Well, here’s a guess: they laugh at you. Wherever they are, you can be damn sure they’ll base their horrible website in a jurisdiction which really, really doesn’t care about your copyright issues. Is there practically speaking any way to defeat plagiarism? No – and I can prove it. Here’s my argument: I am willing to bet that your resources are less than those deployed by, say, Penguin Random House. PRH’s authors are routinely plagiarised. Yes, PRH chases the thieves around the internet and uses hotshot lawyers wherever it’s plausible those guys will make a difference, but … PRH’s authors are still routinely plagiarised. That’s probably true of pretty much all their top-selling authors. You can afford $100 to register your work with the Library of Congress. That’s true. But you probably can’t afford a lot of hours that are charged at $600 an hour, and you certainly can’t afford them if the likelihood of that spending making a difference is close to nil No government agency or law enforcement body anywhere in the world is going to care that a plagiarist is stealing your work. So there is nothing you can do. Conclusion Honestly? My advice? Look register your copyright if it’ll make you feel better. But you aren’t ever going to go to court to enforce your copyright and you’ll probably bankrupt yourself if you do. So write a great book. Sell it. Then write another. If you do well – if you do really, really well – book piracy sites will steal a tiny bit from your sales. (Or maybe not: because maybe the people who take books from those sources would never put an honest dollar in your pocket anyway.) But there’s nothing you can do about it, so just write another book, and sell it, and be happy because you are doing a hard thing well. And you feel good about doing it. Oh, and if you meet a book pirate? Well, as far as I’m concerned, you’re welcome to thump them.

To the uninitiated, the process of getting a book published can feel like an unfathomable mystery. It’s entirely forgivable to feel daunted by how to get your book published as a writer and how to get a book deal. Finally holding your book in your hands can feel like a very distant dream for any new writer - let alone getting that all-important book contract! So what do you do when you’ve finished your story? Should you even finish a full manuscript before you send it to literary agent, or is it better to send a partial manuscript with your query letter? Who do you send it to? Who will best be able to look after your work? How do you find a publisher? What are most agents looking for? Do you even need a literary agent? What about publishing it yourself? And these questions are just the tip of the iceberg. But don\'t panic, because in this article I will be outlining everything an emerging writer needs to know before they get anywhere close to a publishing deal. How To Get Published- The Three Main Paths Even to the initiated, the publishing process can feel mysterious and confusing. I’ve been in the industry for over twenty years but that doesn\'t mean I find it in any way straightforward. Although that’s also what makes it interesting and exciting. There are many possible routes from manuscript to published book. The following guide will provide you both with the map you need to start finding your way through those woods - and some good reasons to start putting one foot in front of another. The first thing to know about getting a book published is that there are three main paths: traditional publishing, self-publishing and hybrid publishing. I’ll describe each of these in detail as this article goes on, but briefly, for now: Traditional publishing is the route where you sign a contract with a commercial publisher who will be responsible for getting your book made and then out in the world, in the shops and into readers’ hands. This should also include editing, marketing and distribution. More on that later. Self-publishing is, as the name suggests, the route where you take on the responsibility of producing, marketing and selling your own work. Hybrid publishing is, as the name also suggests, a kind of blend of the two, where an author might pay for some of the services that traditional publishers supply and do the rest themselves. There are also numerous other options including crowdsourcing, putting work on fan forums, online platforms like Wattpad, and approaching various specialist forms of micropress. But I’ll get to all that as we get deeper into things. For now, let’s focus on traditional publishing because I know it’s the aspect of getting published most authors at the early stage of writing are curious to hear about, and what most have in mind as their desired end point. Traditional Publishing  Traditional publishing is what a lot of people think of when they consider writing a book and getting it published. It’s so traditional that you can trace its lineage at least back to Guttenberg. The business of printing and selling books is still recognisable from the 15th century. ‘Traditional’ is a useful label to use to conceptually separate this kind of publishing from self-publishing and hybrid publishing. Not that any readers consider it when browning through books in a store. Traditional publishing is what the majority of people think of when they think about publishing at all. It\'s the business of seeing an author’s manuscript through from completion to the moment it is sold in the shops - and of trying to make a profit from it. The UK and US publishing market is dominated by the ‘Big Four’ (Penguin Random House, Hachette Livre, Harper Collins and Pan Macmillan) who are responsible for numerous imprints publishing all manner of literary fiction, genre fiction, and non-fiction and have multi-million pound annual turnovers. There are also dozens more medium sized publishers like Bloomsbury, Oxford University Press, WW Norton, Faber & Faber and Canongate who also have annual turnovers in the millions. And then there are hundreds of smaller independent presses and micro-presses catering to all kinds of tastes and interests. How To Get Your Book Published Traditionally Finding the right publisher for you can be tricky, so here are some key things to consider. Importantly, this form of publishing does not cost the writer anything. Instead, the publishing house pays the author. Generally a traditional publisher will give writers an advance against royalties (anything from £100 to £100,000 and more) and then a percentage of the sales (generally something in the region of 10-25%) once that advance has earned out (ie the book has sold enough copies to make back that publisher\'s initial investment). It\'s important to note that the advance is rarely a reflection of the quality of the book that has been acquired, but can be determined by how much interest it has had (ie if more than one publisher wants it then it may go to auction), or it may reflect the writer\'s past successes or ability to sell books (ie a celebrity). This is why a literary agent is important, as they will do their best to negotiate the very best deal for you. The publishing house also foots the bill for all the other vital parts of the book production process such as cover design, editing, print, distribution, marketing, and promotion. Already you can see the benefits of having a literary agent and not having to pay for all the important and expensive parts required to get your book published - but there are also more advantages for writers: Having A Literary Agent Agents are like brokers for the publishing industry. You\'re a lot more likely to get a great book deal (and have your announcement appear in trade press, such as the much-coveted Publishers Weekly) if you have an experienced and supportive agent. More on how to get one further down the article... Agents are experts at getting books in front of publishers, at knowing what publishers will want to see, and they often already have a great relationship with editors - knowing which publisher and editor is most likely to sign your novel. Most agents will also work with you on your manuscript to help get it into shape before submission, looking at sample chapters and suggesting edits. There are many different agencies with a vast range of specialities, so not only is it vital you approach the right ones but that you form a strong working relationship with them. Successful authors can work alongside these agents for years and years, and together they build great careers for one another. But remember you only need an agent for a traditional publication, not when you go out and do it yourself! Editing Good publishing houses have skilled and experienced editors who are experts at helping writers make their books as clear and complete as they can be, this applies to both fiction and nonfiction books. Editors should help with line edits, structural edits and everything in between. For instance, a great editor will help fiction writers bring their characters to life, avoid plot holes, keep a grip on pacing, and keep to the ideal word count. They will also help non-fiction writers martial and order their arguments, check their facts, and avoid mistakes. Editors will have a good understanding of the readers you want to reach out to, as well as the nuts and bolts of the writing process. They will often be the best in the world at what they do and their help can be invaluable. Very few great books have become a success without the help of an equally great editor! Professional Production And Printing As well as working on editorial, publishers are responsible for copy-editing and proofreading manuscripts and also for getting them properly typeset. (Typesetting is the art of getting arranging words on the page so they look good, without strange gaps and more. It is a crucial, if generally invisible part of the process. Read more about it here.) Traditional publishers design covers and write blurbs, as well as help find great quotes from top authors to help promote your work. They also oversee the printing of the books (normally via an offset printer, not digital print on demand) and the preparation of ebooks. All these things are complicated technical processes involving considerable skill and knowledge. Without a traditional publisher, doing these jobs properly can cost a lot of money (and those who self publish soon learn the hard way that doing these things yourself can damage sales and careers). Publishers also have the capacity to print very large numbers of books, if need be, leading us on to storage and distribution. Effective Distribution Once books are made, the next challenge is to store them and get them out into the shops when they are needed. Publishers have established networks to get this done and a dedicated sales team - not to mention the budget to promote them in the trade press. They also have the necessary relationships with bookshops and other retail outlets to persuade them to stock the books. Remember, not all books that are published by a traditional publisher is guaranteed to end up in a bookshop - many factors are at play to ensure a book becomes a bestseller (even a book published by big names). Publicity And Marketing Talking of networks, the traditional publishing route also offers the best chance of getting your book seen by reviewers and journalists. They have the media contacts and the ability to achieve the necessary column inches. If your book starts doing well they should also have the marketing muscle to make sure even more people hear about it via social media, digital advertising, PR, and trade press. Kudos Thankfully, some of the stigma has gone out of self publishing, especially as we are seeing more and more established and traditionally published authors become hybrid authors and releasing books both ways. But that doesn’t mean that there isn’t still some prestige to getting a book published with established and well-regarded publishing houses. If you spend a lot of time on places like Twitter, you may see a lot of criticism of publishers being gatekeepers and arbiters of taste. But take that with a pinch of salt. Partly because some of that social media bile comes from resentment, but also because being a gatekeeper is a publisher’s job and part of their strength. For better or worse, publishers can bestow a seal of quality and approval (let\'s be honest here, we all know a book published by Penguin and stocked in Waterstones is going to probably be better edited than a self-published book, with few reviews or press coverage, that you can only buy on Amazon). The simple fact that a traditional publisher is prepared to put their time and money into a book is a demonstration to the world that someone other than the author believes in it - and not just in the ability of the writer, but the fact that book is more likely to appeal to a wider audience. After all, publishers aren\'t signing books to be nice. It\'s a business! The fact that these big publishers are reputable professionals who know the industry and the market (or, at least, they ought to be!) and that they believe in your work should be a demonstration that the book has potential. So it stands to reason that most authors start out wanting their book to be signed by one of the top four big publishing houses. But that doesn\'t mean that route will find you money and fame. In fact, a lot more money can be made (and a lot quicker) publishing your book yourself! It just involves a lot more skill, time, money and know how... Self-Publishing With this option of the publishing industry, authors take responsibility for the production and marketing of their books and all other parts of the process. Generally, this means they will publish ebooks of their works on platforms like Amazon and Smashwords. But they can also produce audiobooks of their work, print on demand paper copies, and even pay for their own print runs and book storage. All this means that authors take responsibility not only for the words on the page, but how they are presented. It might be that they do all the work themselves, or they employ professional editors, copy-editors and proof-readers, cover designers and typesetters to help them present their intellectual property in the best possible condition. There are also agencies who can help you convert your finished manuscript to ebook form - or you can use the in-house explanations and templates provided by platforms like Smashwords. Once you\'ve produced the necessary computer files, there aren\'t normally too many more upfront costs when it comes to how to producing your own ebook. The platform you choose is generally supportive and easy to use, and they will help you get it out to readers while taking a percentage of each sale. Print on demand suppliers like Lulu.com provide a similar system. They will offer you a cost per book based on your production specifications. The print on demand supplier will then take a percentage from the sale of each copy sold on their store, and pay some royalties to the author. If you choose other print methods and print in bulk, you will generally be expected to pay those production costs yourself and will need to find a place to store all these books and sell them at either events or through distributors. People choose to publish their books themselves for three main reasons: They\'ve tried the traditional method, had no luck securing a literary agent or publisher, so decide to go out there on their own. They understand that their choice of genre or fiction is niche, and better suited to readers who look online for these kinds of books (because they aren\'t commercial enough for book stores and big publishers to stock). The author is already established in their own right (ie big social media presence, or an expert in their field) so they know they will be able to make more money using their already-established captive audience and communication channels, and can sell books that way.This normally works best for a nonfiction book (ie you\'re a famous gardener with a number of garden centres around the world where you can sell your book) or you\'re a huge TikTok star and can promote your novel that way.  However you choose to produce your own book, or why, here is a list of reasons why it may be the right choice for you: Ease Of Access  Perhaps the clearest advantage of self-publishing is that just about anyone can do it, and there are very few barriers to entry. If you want to write about cowboy mermaids in space, you can, there is absolutely no one stopping you! Speed You can also get your book out quickly. When considering how to get your book published, ask yourself how important the timing is. A traditional publication may take three years from final draft to bookstore shelves (you need to find an agent, go on submission, secure a deal, then wait 12-18 months for your book to be released). Most platforms offer a step by step process that helps you through production. This means that with just a small amount of know-how you can convert your manuscript into an ebook within hours. And it doesn’t take much longer for that book to pass the quality control checks on whichever platform you choose. After that you can start selling. You Generally Get A Higher Percentage Of The Profits  Because there are far fewer people involved in the publication process and because there are fewer costs involved in getting your book out as an ebook, you can also generally expect to receive a higher percentage of the profits from each sale of your book than you would in the traditional publishing industry. (There are caveats to bear in mind here though. Self-published ebooks generally also have to have a lower cover price to attract buyers - so you’re only going to get a larger percentage of far less money. The books also tend to sell fewer copies.) Control Since you are in charge of the publishing process you also get to make all the decisions about when the book comes out, cover design and pricing. Plus you have full access to sales stats and get paid royalties monthly, not quarterly or yearly. You Get To Unleash Your Creativity Okay, this isn’t for everyone. Often book covers and their related artwork are best left to the professionals. But if you do have design skills, creating a self published novel gives you a great opportunity to make the most of your design, illustration and photography skills. Hybrid Publishing Also sometimes known as co-publishing, author-assisted publishing, or partnership publishing (and, more misleadingly, indie publishing) hybrid publishing is an umbrella term for a mix of traditional publishing and doing it yourself. Generally, the publishing company offers professional publishing services when it comes to things like cover design and typesetting - and sometimes they will even take on distribution. But the author pays some of the upfront costs of getting the book made and into the world. Although don\'t get these mixed up with vanity publishers, who we strongly recommend you stay clear of! Many people opt for Hybrid as a \'self-publishing but with help\' alternative. Here are a few advantages: Ease Of Access Because they are not taking a risk on your writing, hybrid publishers are often more likely to take your work on. The flip-side of this is that they will not always care about it as much - but if you have realistic goals and enter into the partnership with open eyes it can be a good way to get a decent quality version of your book out into the world. More Control Since you will be footing the bill that should also mean you get more say over the look and feel of the book, book cover design, when it\'s released and how many copies are produced. High Royalty Rates Many hybrid publishers offer attractive royalty rates. But a word of caution here - because you are paying them upfront, they have less of an incentive to help promote your book as they have already earned from it. Other Publishing Models You can publish a book with a publisher in more than just three ways, as there are a huge variety of publishing companies out there. Other options include: Micropresses There are dozens of high quality small independent publishers in the UK and USA who represent books by all sorts of writers, releasing both top quality fiction and non-fiction. There are different definitions for what constitutes a small independent publisher or micropress, so let\'s take a closer look. Some say it’s a company that makes less than $50million a year (which is still pretty big!). One useful guide in the UK is the entry criteria for the excellent Republic Of Consciousness Prize for small presses which is an annual competition for publishers with fewer than 5 full-time employees. In the USA (where everything tends to be bigger) the equivalent prize instead defines small presses as those which publish an average of 18 or fewer published titles per year. They generally operate more like a bigger publishing house and are likely to offer you a traditional publishing deal. But all small presses accepting submissions are different. They all have their own personality and impact on the market, with different passions and beliefs. They cover everything from: Science fiction Children\'s books Young adult books Hardcore literary fiction Short stories Non-fiction books Specialist books LGBTQ+ books Travel books And much much more! Smaller presses (including university presses) are often specialists, with distribution options to reflect that, and in most cases you don\'t need to submit your work via an agent. But, the flip-side of that, is that your book may not reach as many people. Crowdsourcing This is an interesting alternative way to get your book published. As in hybrid publishing, the crowdsourcing publisher offsets some of the risk of publication by asking the creator to raise the funds necessary to produce and print a book. But in this case, they are asking their target readers to help out! In the UK the publishing company Unbound has published several successful and well-regarded books using its crowdfunding platform. And Kickstarter.com is now one of the biggest publishers of comics and graphic novels in the world because creators have had so much success on their platform. Crowdfunding can work for creators because it connects them directly with their audience, the process of raising money for a work can also help to raise its profile and generate excitement. Plus, because many platforms have reward tiers that allow creators to offer extra incentives to their funders, it means creators and their fans get to work on a project together. Digital First Publishing Some big companies like Harper Collins have digital first imprints, a division that only produces ebooks and distributes them on relevant platforms. Many even accept un-agented authors. Some genres (ie crime and thrillers) do incredibly well as ebooks, and if a book become an instant bestseller the publisher may choose to then print the book too. Most digital contracts do not offer an advance and the publisher has a much lower investment in each book than under their traditional models. But this can also mean they sign on a multi-book deal, they can get it out sooner, and often pay higher royalty rates. Amazon Publishing Amazon offer a digital and print service that helps you quickly build your book and get it to market on the Amazon website. It\'s one of the quickest ways to get your book ideas published and out into the world, and as they also offer a publishing service they have a ginormous captive audience to publicise it to. Fan Fiction Forums This is niche but it can often be a great way to build a dedicated readership. If you’re a fan of something and love writing about it, there may well be people who love reading about it. There are numerous forums for the Star Wars universe, Harry Potter, the Twilight saga - and much more. Famously, the multi-million selling 50 Shades Of Grey started life as Twilight fan fiction and there have been other self published authors who have found mainstream success in this way by being snapped up by a traditional publisher. And even if such breakthrough stories are rare, publishing on these forums can be a really good way to reach readers and practicing your craft. Wattpad Wattpad calls itself “The world\'s most-loved social storytelling platform” and is so big it deserves a heading of its own. With a community of millions of readers, writers publish their work directly via the site across a huge range of categories from adventure, LGBTQ+, romance, nonfiction books, books for young adults, historical and fan fiction. There are also - inevitably! - a whole range of erotic categories. A number of Wattpad stories (mainly YA and romance) have even become successful TV series and films (ie Through My Window, The Kissing Booth, the After trilogy). How Do You Get A Book Published?- General Tips We’ve seen the main publishing options that are available, but many writers at the early stages of penning their novel will still have questions about how to write and publish a book.  So here are a few of the things that will help you on your journey: Get Editing The first step (no matter what publishing route you decide to take) is to get your manuscript in the best shape it can be. Finish it. Read it. Re-read it. Carefully check for elementary spelling and grammar mistakes as well as all the important matters of structure, plot holes, characterisation, flow, argumentation (we have a blog post on everything a writer needs on our site). It often helps to set your manuscript aside for a while after you have finished writing. And also to print it out so that you can read it away from the screen in a new context. If you have trusted beta readers, bring them in too. Consider Getting Professional Help If you are uncertain about the quality of your work and how to develop it further, it can help to get a professional assessment. Yes, friends may offer to help, but you really need an expert who is objective and honest. Professional writing mentors can answer all kinds of questions that may be nagging you. Is my query letter OK? How do I choose a book title? How long should my book be? Will anyone want my non fiction? Is my writing strong enough? A mentor or professional editor will not only read your book proposal and manuscript, they will have had some of the same battles with finding the best publishing routes that you have and will guide and support you. Most writers find these services invaluable.  Take a look at the mentoring, editing and agent match services we offer at Jericho Writers. Attend Writing Conferences A good writers’ conference will give you the opportunity to meet industry professionals, to ask questions about what they are looking for and why, and listen to talks from established traditionally published writers, self-published writers, agents and publishers. Being part of a writing community is important when it comes to meeting fellow writers who are also learning how to publish a book with a publisher. They are a great place to swap stories, give each other encouragement and to learn that you aren’t alone. Why not take part in Jericho Writer\'s York festival of writing, our Summer Writing Festival, or join our FREE writing community! Scope Out The Market Determine your genre, have a look at the kind of books that are being published in that genre and who is publishing them, and try and gauge what the public enjoy reading. This will help you decide the best route to market and how to get your book published the right way. Approach Literary Agents We\'ve already discussed how it\'s not possible to get a publishing deal with the big top four publishers without an agent. So how do you get one?  Most literary agents have what we call an MS Wish List - this is a clear outline of the kinds of books they are looking for and the kind of writing they enjoy reading. Do your research and draw up a list of those who are more likely to want to read your work. It can be a bit of a mine field, but luckily you can find plenty of free resources on the Jericho Writers website: A list of US literary agents along with tips on how to write your query letter A list of UK agents along with tips on how to write your query letter Discover our agent match service to help find your dream agent Some more useful tips on how to approach agents Put Together A Submission Pack  If you wish to become a published author of fiction, a submission pack is what literary agents ask to see once you have a finished manuscript and are seeking representation. In most cases, a submission pack consists of a query letter, a brief synopsis (and maybe a chapter by chapter summary) and a sample of your work. If you are writing non fiction it may be simply be a concept and some examples of writing plus credentials along with your query letter. The most important tip about the submission pack is that you should carefully check on the website of each agent and publisher to see what they are asking for. Follow their submission guidelines carefully (some even request a certain font type and size). Some may want to see a full manuscript. Some may want sample chapters. Some may want a chapter-by-chapter summary. Or some will have different requirements for different kinds of books. Make sure you tailor your submission accordingly. It’s not only good manners, it demonstrates that you know who you are applying to and care about what they want. Here are more articles on the subject: You can read a sample query letter here - along with some useful hints and tips Here\'s a guide to writing a novel synopsis Here\'s more information on how to present your manuscript Build Your Author Platform  If you can raise your author profile through writing a blog post, being in the press, attracting social media followers and winning writing competitions, it can help to stand out to literary agents and publishers. Most writers like to start with at least a Twitter or Instagram account to appeal to their target audience. Although building up your author profile before sending out a query letter isn\'t vital to your success and won\'t automatically lead to a book proposal (most literary agents, acquiring editors and readers simply want to read a great story), it can help grow a bigger audience for your writing, regardless of the path you wish to take to publication.  Now You Know How To Get Your Book Published! Phew. You made it to the end - well done! I hope the information shared has helped you understand the best route to publication. I also imagine that most of you reading this will be at the early stage of your writing career, whether fiction or non fiction. And the vast majority of you debut authors will now be wondering what the heck you\'ve gotten yourselves into. Well don\'t worry, the writing community is a fun and supportive one, so at this stage just take your time and focus on writing a great story. Maybe bookmark this article and refer back to it at each stage of your journey. Time To Get Going The key things to consider, when choosing how to publish your book, is what you want out of it. Do you want to set your sights high and aim for the top dream of traditional publishing, see you books in Barnes and Noble and Waterstones, and even make the New York Times bestseller list? Do you want to write a book every two months, be in full control, and make lots of money? Or do you simply want to hold your book in your hands and have it read by your nearest and dearest? Whatever you choose, this article demonstrates that there are many routes to publication, all of which have the potential to make you happy and proud. And at the end of the day, all that matters is that you finish your wonderful story, and that you share it with others. So go on, get out there, and make it happen. Because we are right there beside you, cheering you on every word of the way!

Creating an agent submission pack for fiction is reasonably simple, with clear guidelines. But nonfiction book proposals can be a little trickier. In this article, I\'ll show you how to write your own nonfiction book proposal that will work for a literary agent and a publisher. I’ll provide a sample proposal and give you examples of what to do (and what not to do) as you put your proposal together. We’ll start off by considering what nonfiction publishers actually want from you. Their wants drive what you need to give them. In effect, we can just build a template book proposal where all you have to do is fill in the blanks. Easy, right? Write A Nonfiction Book Proposal In 4 Steps: Prepare a query letter – include a book overview, target audience, USP, writing CV, and motivation for writing. Add a bio – including a professional resume and platform, i.e. social media, blog, mailing list etc. And a market overview. You’ll also need to send sample chapters, book outline, and introduction. What Is A Book Proposal? And what do publishers want from it? A book proposal is a pitch to a publisher. Quite likely, you reach that publisher via a literary agent, so the first pair of eyes on your work will be those of an agent, but either way, your final target is a publisher. So, when you’re writing a nonfiction book proposal you need to think about what makes your book stand out. Your pitch offers the traditional publisher the opportunity to acquire a nonfiction book, authored by you, on the subject set out in your proposal. In exchange, the publisher will (assuming they’re keen to proceed): agree to publish your work pay you an advance pay you royalties if and when your advance is ‘earned out’ by book sales. You will receive a slice of that advance payment once a contract is agreed. The remainder of the advance will be paid out, typically, (a) on acceptance of a complete manuscript, (b) on hardback publication, and (c) on paperback publication, if you have one. If your nonfiction book only comes out in one edition, the last two chunks will come as one. Clearly, publishers make their money by acquiring books with commercial potential, so it makes sense to pitch them with interesting book ideas. Here are some things you should cover in your proposal: Subject What do you want to write about? Audience Why do you think anyone would be interested? Competition What other titles are there in your area? Or, to be rather more accurate: what titles in your area have made money? That’s important, because those comparable books will form an important part of any acquiring editor’s in-house pitch at the time of acquisition. Angle How does your book differ from everything else that’s out there? Why does the particular angle you bring feel urgent, necessary and compelling? Authority What qualifies you to write on this topic? Why should anyone listen to you? Platform What platform do you have to generate publicity or visibility for your book? Answers might include large followings on social media, a regular broadcast presence, or a position as a columnist in a major national newspaper or magazine. Title It’s almost possible to overlook the title, just because it’s so damn obvious. But a great title counts for a huge amount. A good title should do two things. It should communicate what the book is about, but it should also do that in a sexy, edgy, novel, exciting way. A book called A Journey of Self-Discovery would be unpublishably bad. A book called Eat, Pray, Love could just be an international hit. Or just think how many extra sales Yuvral Noah Harari achieved by calling his first book simply Sapiens. That’s a huge subject with an utterly enticing one-word hook. Perfect! Do likewise. Intended Word Count Honestly? You won’t know this until you’ve written your book. But say something. 70-90,000 words would be about right for most memoirs. A 100,000-word book would be about 350 pages in print, so think roughly how long you want your finished book to feel. Anything over 120,000 words will have a slightly epic quality for the reader (and be more expensive for the publisher to produce), so only aim for high word counts if the subject matter is really worth it. (The American Civil War: yes. One somewhat interesting murder in Minnesota: no.) All that is to look at your proposal from a publisher’s point of view, but they have to think about things from a readers’ perspective as well. So they will also want to know: The Pitch To The Reader How would you go about pitching the book to a reader, rather than to a publisher? Does that pitch feel compelling, or a bit flat? Writing Skills Can you write decently? What is the actual experience of reading your book going to be like? Detailed Subject Matter What is your book actually about? It’s all very well to say (for example), that your book will be a history of Rome. And good – that’s clearly the kind of subject matter for which there is a perennial market. But what will the actual, detailed, chapter by chapter content be? You need to be able to outline your content and do so in a way that will make sense to someone who has little prior knowledge of your topic. These questions have to be answered by the proposal you offer to the publisher/literary agent. In effect, your proposal will simply go through these questions one at a time and answer them in a way that will give the strongest possible reassurance to the people holding the chequebook. What Should Be In Your Book Proposal:A Template A nonfiction book proposal template might run roughly as follows. (Why only “roughly”? Well, several reasons, really. First, non-fiction is a very varied field, and the basic template will need to bend a bit depending on what’s on offer. Secondly, there’s no required industry-standard format, the way there is with screenplays. That gives you some wiggle room. And third, you may be stronger in some areas and weaker in others. There’s nothing wrong with constructing your proposal so as to make the most of your assets!) Right. So things may vary, but a good place to start is as follows: 1. A Covering Letter (Or Query Letter) Your covering letter will deal with the following elements: Purpose: Explain why you’re writing in the first place.Example: “Dear Annie Agent, I am writing to seek representation for the attached book proposal, A Puzzle in String” Subject matter: Explain what the book is about.Example: “My book is a popular science book that explains string theory in terms that laypeople can understand [etc].” Audience: Explain who you think will be interested.Example: “The book will appeal to anyone interested in understanding the most fundamental aspects of the universe we live in. It will appeal to broadly the same people who bought Steven Hawking’s Brief History of Time . . . etc.” Angle: The world mostly doesn’t need more books. So why is yours the one that readers will want to pick up, given the vast range of options they already have?Example: “My book differs from the other books on the market in that it …” Personal background: Explain (in brief) who you are.Example: “I am a Professor of Physics at XYZ University . . .” (Optionally) Motivation: In some cases, it can help to explain why you felt driven to write this book.Example: If you were writing a book on silence, you might want to mention (say) that you had spent six months living, in silence, as a hermit. Documents: Explain what documents you are presenting.Example: “I attach the following documents . . .” A good letter will run to no more than two pages. (If you were a novelist, we’d suggest your letter run to no more than a single page, but the rules are a bit different for nonfiction authors. You have a little more room.) 2. A Professional Author Bio Your self-description needs to cover (usually) two elements: Here’s where you set out something like a professional resume. Even here, bear in mind your audience. So let’s say you are a professor of physics. Since you\'re addressing laypeople, instead of listing your papers in detail, you can just say, “I have authored more than 70 scientific papers . . .” You should also set out your platform, if you have one. That platform will include any way you have of reaching your target audience: social media, broadcasting, journalism, a blog post, a mailing list – anything. Do note that publishers have pretty high standards here. You’d need several hundred thousand Twitter followers, for instance, to move a publisher’s stony heart. Typically, you will either bring significant authority (“I’m a physics prof”) or a significant platform (“I have over 2,000,000 followers on Instagram”). It’s pretty rare that an author brings both, but if you have both – brag. And what happens if you have neither platform nor authority? Well, authority and platform are great, but if anyone tells you they’re essential – well, they’re wrong. Great writing plus a great idea will work fine every time as they\'re the most important things. If you have neither platform nor authority, your bio doesn\'t need to go into any great depth. 3. A Market Overview A marketing plan is also crucial. You’ll need to provide: A swift definition of your market as you see it. Be as precise as possible here. Don’t tell agents/publishers that your book will appeal to “all intelligent book buyers”. Define your audience as precisely as you can.Example: “This is a book of popular physics, part of the broader popular science market. Because the book lies at the harder end of the science market, it’s likely to appeal to readers with past enjoyment of quantum physics, astronomy…” Measures of engaged audience size: You want to give publishers some kind of metrics for the possible target audience – but be sober here, not expansive. If you are writing a book about Ireland, for example, don\'t say, “The worldwide population of Irish, Irish-American, and other Irish descended people is estimated at…” Yes, you may arrive at a large number that way, but it will be a meaningless number. Much better to say something like, “Nuala FitzShamrock’s history of the Irish Famine spent Y weeks on the NYT bestseller list.” It’s quite hard to get useful measures of engaged audience size, but you\'re better off giving a few hard stats rather than a larger number of fluffier ones. Offer an overview of major recent titles plus, if you want, some older classics – but publishers will certainly be focusing primarily on titles of the last 2-3 years. Don’t just list out the titles themselves, but include details of author, publisher, publication date, ISBN, page count, formats (eg: hardback, paperback, e-book, audio), and price points for each. These things matter a lot to a nonfiction publisher because they’ll instantly be able to tell what kind of market currently exists for these books. (They can also check, which you can’t, what the sales history for these titles are.) So if the only current publishers for your subject are academic publishers with books priced at $100+, it’s unlikely that a trade publisher will think that a mainstream market exists for your book. You\'ll want to provide data on at least 5 comparable titles, but 10 would be a better number to aim for. Provide any data you have on sales / prizes won / publicity achieved for your comparative titles. This can be hard, by the way, because this is an area where publishers will have paid-for sources of data that you don’t have. All the same, it’s worth making some effort here, as you can show yourself to be a professional, market-aware author – something publishers love to see! The easiest way to guesstimate approximate sales is by looking at Amazon sales ranking . . . just be aware that those rankings are volatile, so they can be an unreliable guide.Example: “String Theory for Idiots, by Prof Quentin Quark (Pub: Penguin Random House, 2018) is currently ranked at #1,800 in Amazon.com’s overall bestseller list. Format, pricing and ISBN details are: …)” Angle: Provide a brief summary of how your book differs from the competition. What makes yours special? Why does the market need your book? This last point is the crucial one. Sometimes, you might come across an idea that hasn’t been done before. In that case, say so. You have to bring something new to the market you are writing for. It is the newness and urgency of that idea which will go a long way to determine whether your nonfiction book proposal succeeds in generating offers or not. 4. Sample Material So far, the material we’re offering to the publisher includes stuff about the book (your query letter, that market overview) and about you (the bio.) But we do also need to give publishers a good taste of the work itself, which means you will also need to supply: A. Sample Chapters You\'ll need to include sample chapters from the book itself, to give the agent and publisher an idea of whether you can actually write. Can you write engagingly for a broad audience? This is your chance to prove it. If your book is narrative nonfiction, you will need to include the first three chapters from the book, because the narrative won’t make sense any other way. For subject-led non-fiction, the chapters can be non-contiguous. B. A Synopsis You need to give a detailed synopsis of the complete book. If you\'re writing narrative nonfiction, that can take the form of a regular synopsis, but probably longer than what you’d offer for fiction. Aim for about 2,000 words, if you’re not sure – though again, these things are variable. In some cases, you’ll find that narrative nonfiction – such as memoirs or travel books – simply demand to be treated like the novels they resemble. And that will probably mean that you need to write the whole damn book and that a proposal will simply not be enough. Sorry! (Though you can always get a proposal over to an agent. At the very least, a good proposal will start a useful conversation with an interested agent.) So what about the more subject-led non-fiction? The good news here is that you may be able to get away with relatively little. If you’re writing, let’s say, Paleo Science: What’s fact, what’s myth, and what matters to you, a detailed skeleton outline of a few pages should be fine. Don’t go wild. C. An Introduction As well as a sample chapter or two and a detailed outline, I strongly favour including the introduction that you intend to appear in the final finished book. That intro should act as a kind of manifesto for the book. It needs to proclaim, in effect, “Here’s why this topic is so important and so urgent that you have to fish $20 from your pocket right now and buy this book.” The manifesto is partly a communication of facts. (For example: “If sea levels continue to rise at their current rates, 47% of lower Manhattan will be underwater by 2029.”) But it’s also partly a process of seduction. You are seeking to entice the reader into seeing the world your way. That’s where strong writing comes into its own – and indeed, this will probably be the most important chapter you’ll write, as it’ll be the most influential in that buy/don’t-buy decision. Quite likely, you’ll find that actually writing that intro will bring your own project into greater focus, even for you. You’ll realise exactly what it is about your project that drives you so much. Communicate that passion to the reader, and you are onto a winner. What Not To Do In Your Nonfiction Book Proposal When you\'re including anecdotes in your nonfiction proposal, it\'s important that you add some human colour to it, rather than just offering a piece of information in an uninteresting manner. In particular, if your book is narrative non-fiction, you want the reader’s response to be rather as it would be at the start of a novel. Why are we here? What’s going to happen next? It’s those questions that compel attention. It’s that human anecdote which seduces the reader into the author’s project, and the author’s passion. If you can get your actual writing to strike the right seductive tone, you will succeed. Readers will read your book for pleasure and interest above all else. Want More Help With Your Book Proposal? Why not try an agent submission pack review, or our video course on how to get published. Or, take a look at our range of editorial services here. Frequently Asked Questions How Long Is A Nonfiction Book Proposal? The average length of a nonfiction book proposal is roughly around 10-25 pages. This varies greatly, depending on the topic, how thorough your proposal is, and how many sample pages of your writing you include. Specific literary agents and publishers may also have their own requirements for the lengths of the book proposals they receive. What Is The Format For A Book Proposal? The format of a book proposal may vary slightly, though most of them include: a query letter, a professional author bio, a market overview, and sample material (which includes a synopsis, sample chapters, and the introduction to your book). How Do You Write A Pitch For A Nonfiction Book? A pitch for a nonfiction book tends to be one or two sentences in length, and will reference the setting, subject, story, and unique selling point. Pitches summarise the key points of a book in a way which is clear and engaging. How Do You Write A Synopsis For A Nonfiction Book Proposal? The synopsis for a nonfiction book proposal should have a clear beginning, middle, and end; reflect the tone of your writing and the genre of your book; be engaging; reveal the key sections of your book (including any unexpected twists or spoilers); and be objective. They tend to be around 2,000 words long, though if you\'re writing subject-led nonfiction it can be briefer and around a few pages long.

Guest author and blogger Mandy Berriman shares with us how she hooked her literary agent and the importance of never giving up. I went to a family wedding earlier this year. At our places at dinner, we each had a name card with a quote on the back. Mine read: I have one talent; I never give up. We laughed at the aptness, but it was also a well-timed personal reminder to me. Keep going, you’re almost there, don’t give up. And on I went with the current rewrite, kicking the doubt demons into the dust along the way. I think it is possible that in the history of Jericho Writers (The Writers’ Workshop), I hold the longest record for not giving up: eleven years, two months and 26 days, to be precise. I was one of their earliest clients with my nine chapters of an unfinished ghost novel for children. It was the first piece of fiction I’d written since leaving school and although I had experienced a huge buzz writing it, I’d taken a year and a half to get to Chapter 9 and then stalled. Was it any good? Did I even know what I was doing? Could I actually write a whole novel? After uttering once too often, ‘but how do I know if I can actually do this?’, my husband found The Writers’ Workshop and told me to go and find out. A few weeks later, I had a report back from Harry. The gist: yes, you can do this, and here are all the things you need to learn about writing. That was June 2005, and I haven’t stopped learning since – Arvon, reciprocal critiquing arrangements, constructive feedback from agents, self-editing, six Festivals of Writing, mentoring from outstanding Debi Alper, and always the ongoing support and encouragement from the team here. I spent many years on that original novel (writing, finishing, rewriting, editing, finishing again, rewriting, editing, finishing again), and I came very close with a number of agents, including one who read, offered feedback, and re-read several times over a period of three or four years, and my opening chapter was shortlisted at 2012’s Festival of Writing, but I never quite jumped the agent hurdle. I decided to put the novel in the drawer and move on. I’d been writing and rewriting it for nine years and was desperate for a change. I started a second children’s novel and rediscovered that buzz of fresh, no-idea-where-it’s-going writing. But fitting it in around two children and an increasingly demanding job meant progress was slow and I struggled with motivation. I dabbled in other bits and pieces, never settling on anything, but I started to write short stories and flash fiction in different styles and voices, and quite a step away from the children’s fiction where I felt comfortable. In 2013, several things happened to dramatically change my direction and fire my motivation. Firstly, I moved jobs to one that was far more creative, allowing me to focus on my passion for music and step back from time-consuming paperwork. Secondly, my youngest son started preschool freeing up a precious few daytime hours in which to write. Thirdly, and probably most importantly, Stories for Homes happened. Debi and her friend, Sally Swingewood, decided they wanted to create an anthology of short stories and poems on a theme of ‘home’ to raise money for Shelter. Debi asked for submissions of stories, techy help, proofreading and so on. I was determined to make progress on my children’s novel and I had no story ideas, so I replied to say that I would help where I could but doubted it would be in story form. However, just before the story deadline, I read Claire King’s The Night Rainbow, a wonderful, inspiring novel written from the POV of a five-year-old girl. (Read it!) Its themes are not about homelessness, but it sparked a thought – what does homelessness look like, feel like, smell like to a young child? And there was Jesika with her hands on her hips and that look she gets on her face when an adult is being really silly, wondering out loud why it took me for ages to notice her. I wrote and edited Jesika’s story in a week and sent it to Debi and Sally just in time for the deadline. They loved it. They made it the first story in the book. The book was filled with sixty or so other fantastic stories and poems and the book went on sale and raised over £2,000 for Shelter. (It’s still on sale, still raising money for Shelter.) I was very proud to be a small part of the overall project and when the excitement died down, I returned to the children’s novel. Except Jesika had other ideas. She wouldn’t leave me alone. I realised that one short story was not going to satisfy her. I’ve spent the last three years writing, rewriting and editing Jesika’s novel. In that time, Debi has continued to mentor me and I’ve been to four Festivals, each time taking a little bit of Jesika’s story with me for my one-to-ones. In 2013, all three agents told me they loved the voice, and they’d love to see more. (I wasn’t finished, so made a note of their names). In 2014, I saw two more agents who loved the voice, but weren’t convinced I could sustain it (and I still hadn’t finished it, so I couldn’t prove them wrong). However, that year I also went to a workshop run by Shelley Harris and because of a piece of writing I scribbled for one of her tasks, she introduced me to her agent, Jo Unwin, and we talked about the novel and she gave me encouragement to continue. In early 2015, I finished the first draft and started rewriting. In 2015, I submitted to Jo as one of my one-to-ones. She loved it and wanted to see more, and then after the festival, one of the agents I saw in 2013 asked to see the first chapter. She also loved it and wanted to see more, but the rewrite wasn’t finished. It took me a year to finish – during an emotionally challenging year and with enormous help from Debi’s editorial genius – and just before the 2016 festival, I was ready to submit again. I had two agent one-to-ones arranged and I emailed Jo Unwin and the other agent to ask if they wanted to see it, too. I assumed that nothing much would happen for a few months, and then I’d look at any feedback I got from the agents and talk to Debi about further rewrites. What did happen was I ended up with four agents reading the full manuscript, two making me an offer of representation, one taking me out for lunch and me having a choice to make – all in the space of three and a half weeks! I’m delighted to say (and still pinching myself when I say it) that I chose Jo Unwin. I know that this is one more hurdle in a series of hurdles and who knows what comes next, but I’m very excited to have arrived at a place I’ve been working towards for so long and so grateful for the day my husband handed me The Writers’ Workshop info and told me to get on with it. I stepped through a door that day that led me to so many fantastic opportunities, wonderful people and great friends – and I am the writer I am today because of them. Back in 2007, Harry posted about me on a now-dead blog to congratulate me on that initial success of finding an agent who believed enough in my first novel to offer feedback and ask to read it again. He acknowledged there were no guarantees that it would lead to representation but he said, ‘I bet Mandy makes it though. And I bet she sells well when she does. Certainly hope so.’ I printed that blog off and pinned it up to remind me to keep going, and I did keep going. Thank you, Harry. And thank you to everyone else along the way who believed I could do this. Lastly, incredibly, one of the many agents who rejected my children’s novel five years ago is the agent I’m now signed with as my book heads to publication with Doubleday. My advice: be rejected, crawl away and weep in a corner, look at feedback, eat chocolate, learn, re-read feedback, swear, try new things, get involved with other writers, allow your writing to be critiqued, learn more, delete, rewrite, edit, throw the whole lot in the bin for a day – but never give up!

Including a template for you to follow and a working example When you approach literary agents, you will need to present them with a submission package that includes a query letter, a sample of your manuscript and, of course, a synopsis. If you’re asking yourself how to write the synopsis, you should know it will need to look professional – that is, it wants to follow a proper synopsis format – and it needs to do its job, of convincing a literary agent that your story sounds exciting. That’s not actually hard to achieve, and this post will tell you exactly how to write a novel synopsis. We’ll reveal the two huge tricks that make your life easy as a synopsis writer… and give you an example of a novel synopsis too, so you can understand exactly how to put the rules into practice. Sounds good? Let’s jump right in. How To Write A Novel Synopsis What is the synopsis? A synopsis is a 500-800 word summary of your book that forms part of your agent submission pack. It should outline your plot in neutral non-salesy language and demonstrate a clear narrative arc. Every character, any big turning point or climactic scene, and all plot twists should get a mention. But lets go into the definition in more detail. Definition: What Is A Synopsis? A synopsis is: A short summary of your story, in its entirety, from beginning to end, soup to nuts, nose to tail. Written in fairly neutral, non-salesy language. Follows the same broad structure as your novel. So if, for example, you have a novel with two intertwining time-strands, your synopsis would follow the order of events as presented in the novel. Your novel’s structure trumps any chronological issues. Probably about 500-800 words in length, but agents’ requirements differ, so do check against each agent’s submission requirements. What Is The Difference Between A Synopsis And A Blurb? A good synopsis is not like the text on the back jacket of a book. Those book blurbs are much shorter and normally offer only a teaser, rather than a full rundown of the book’s story. For the same reason, a novel synopsis is not the same as an Amazon-style book description. In fact, a book synopsis is what you think it is. A 500-word long spoiler for your entire novel. Every major plot twist. Every major character. Any big turning point. Your big climactic scenes. They’re all there, briefly, succinctly and (yes) a little drily narrated. Oh yes: and some good news – If you can write a novel, then you can definitely write a synopsis. Writing a synopsis is a lot, lot easier than writing a whole damn novel, so don’t stress. You should be able to put together your synopsis in a morning – and still have time for a stroll before lunch. Purpose: What Is A Synopsis for? I just said that a book synopsis is kinda dry – and it is. In fact, I doubt if anyone has ever enjoyed reading one. It’s just not that entertaining. So if it’s not for fun – why have it? What is the synopsis of a book for, and why do almost all literary agents ask for one? OK, so this is how it works: Most literary agents will look at your covering letter first, then turn to the manuscript. If they like the first three chapters, they’ll be thinking, “This looks great, but is it going to hold interest? Is it worth making that investment of time to read it all?” That’s where the synopsis comes in. Your book synopsis is there to outline your plot and to demonstrate a clear story arc, a satisfying ending. It’s your tool to make someone read on. That’s why your synopsis needs to: Tell an agent directly and clearly what your plot is – it needs to give a clear picture of the narrative arc; Clearly identify your main characters – and at least hint at any major character development arcs; Make clear what your hook, premise or elevator pitch is; Demonstrate implicitly its appeal and how plot momentum increases; Share an ending that feels satisfying. If your synopsis achieves all that – and your query letter and manuscript sample is up to scratch – the agent will ask you for the full manuscript. They can’t not. You’ve got them hooked. Synopsis: Length, Tone, Format The format of a wonderful synopsis has the following ingredients: Length Your synopsis should be about 500 words (but check agency requirements – they can be quite variable). There’s a lot of advice around suggesting that your synopsis should run to no more than one page. We think that’s on the low side. Most good synopses we see run to two nicely formatted pages (ie: reasonable line spacing, normal margins and a sensible font.) Language Be business-like; clear, to the point, neutral. In particular, it’s fine to tell not show: this is a business document, not the novel itself. Presentation Be well-presented with no typos or spelling mistakes. Use normal fonts, normal margins, and line spacing no narrower than 1.5. It’s fine if your synopsis runs to two pages, but (unless an agent specifically asks for more), don’t run to more than that. Character Names Put the names of main characters in bold or CAPS when you first introduce them. That makes the synopsis easier to navigate. Character Thumbnails As well as highlighting your characters names, you should give a swift resume of who they are, on first introduction. So for example: “James Bond, (38), a British agent – handsome, cruel, seductive, and high-living – …”. Note that you can insert age in brackets without having to say your protagonist “is thirty-eight years old.” Save that word count! Extra Points If you have a compelling way to ‘sell’ your story in 2-3 lines maximum, you could insert that little snippet up at the top of your synopsis. Third Person Presentation Even if your novel is narrated in the first person, your synopsis should be written in the third person. So (to pick one of my own first person detective novels for example), I wouldn’t write “I am a police constable in South Wales …”, but rather, “Fiona Griffiths is a police constable, based in South Wales…” You can instantly see how much more professional the third person sounds to the reader, right? Tense Your novel synopsis should be written in the present tense, so that the agent feels connected to the story and like they\'re experiencing its events in real time. File Name Please don’t call your file synopsis.doc. That works fine for you on your computer – but the agent probably has 100 files from writers with that exact filename. So help the agent out. Your file should be in the format title-synopsis. So: farewell-to-arms-synopsis.doc, for example. And once again: tell the story. Your job is not to sell the book, write the blurb, or anything else, just say what happens in the story. How To Write A Synopsis For Your Novel There are two big tricks in getting your synopsis right. They are: First, Build Your Synopsis Structure Don’t take your massive 100,000 word manuscript and try to figure out how to cram all its rich complexity into a 500 word precis. It can’t be done. You’ll go crazy. Your synopsis will be terrible. Instead of going from your manuscript and boiling it down, you need to go from your structure and build up. That’s the trick. It works every time and it’s awesome. What’s your structure? It’s this: Status quo Inciting incident Rising action/Developments Crisis Resolution Without looking at your manuscript, sketch out your plot using those headings in about 300 words. The ‘developments’ section obviously represents the largest portion of your novel, but it may not amount to more than 40-50% of your total word count here. That’s fine. Missing out excessive detail is exactly the point. It’s precisely what you’re trying to do. So do it, and don’t fret. Equally: don’t get into too much detail about character or settings or anything like that. Just focus on the exact mechanics of each plot point for now. Second only to your novel, these are the most important documents you’ll ever write – so get them sorted fast, easily, and with excellence. You’ll be glad you did. Second, Layer In Character Details The second trick is equally simple and equally effective. It’s this: Layer in information about who your characters are and how the events of the story impact them. Synopses can feel like rather cold and baffling documents. When they do (and assuming they’re decently written), it’s always because the writer has focused entirely on plot machinery and hasn’t said enough about why it matters to the characters. But we read books for the characters, so your synopsis has to engage with those emotional aspects too. Remember I gave you only 300 words for the actual plot machinery? The remaining 200 words are where you can express yourself with protagonists, emotions and character arcs. Example (Without Character/Emotion Language): “As BELLA walks into the class, a fan blows her scent towards a boy, named EDWARD CULLEN. Bella sits next to Edward in biology class on her first day of school. He disappears for a few days, but sees more of Bella upon his return. Bella is then nearly struck by a van in the school parking lot. Edward saves Bella, stopping the van with only his hand.”(Adapted from the Wikipedia synopsis of Twilight) Example (With Character/Emotion Language) “As BELLA walks into the class, a fan blows her scent towards a mysterious boy named EDWARD CULLEN. Bella sits next to Edward in biology class on her first day of school, but he seems repulsed by her, affecting her feelings in the process. He disappears for a few days, but warms up to Bella upon his return; their newfound relationship is interrupted after Bella is nearly struck by a van in the school parking lot. Edward saves Bella, stopping the van with only his hand.”(Source: as above) Do you see how much more engaging the second version is to the reader? Although the text remains quite dry, by including emotional/character-type language in its summary, we have some sense of the real, developing relationship. Short message: don’t focus so hard on plot mechanics that you forget to layer in emotion. Writing A Synopsis: Common Mistakes Here’s what not to do. Miss the agent’s word count by a mile. If an agent’s website gives you a particular word count to aim for, then deliver that, at least approximately. You may find you need a couple of different versions of the same documents, just because those blooming agents can’t cohere around one set word count. Jeepers. Those guys. Go into detail about setting: If you were writing a synopsis for a Jane Austen novel, for example, you might simply say: “This novel is set in a small village in Regency England.” You don’t need more. Go into vast detail about character: A few quick strokes are all that you need. (For example: “Ella, an experienced but overconfident assassin (36)…”) Be scrupulous about plot detail: It’s fine to skip subplots or ignore some finer details. The truth is, you won’t have time to include those things in a 500-word summary. Agents know that the synopsis is at best an approximation of the story. Hide the plot twist: A synopsis is the ultimate plot spoiler, opposite to a blurb, and your job is to reveal all major plot points, whether you like it or not. Start telling us about the novel. So, for example, don’t say, “Then the novel picks up the story of Kate and Jacob…”. Say: “Meanwhile, Kate and Jacob…” Cram in too many character names. Four or five is the maximum an agent wants to deal with. If you need to refer to other characters, just say, “the CIA agent” or “the beautiful doctor”. Forget to put your character names in CAPS or bold. Make it easy for the literary agent! Omit the title. Yes, we’ve seen synopses entitled “Synopsis”. Make sure you have both the title of your book and your name up at the top of your document. So your title line might read: A Farewell to Arms: Synopsis”, and beneath that in smaller text you’d have your name – maybe Ernest somebody-or-other. Use an unhelpful filename. Your document needs to be yourbooktitle-synopsis.doc. Write badly. Yes, a synopsis is a brisk, functional document, and you don’t need to write wonderfully. But you are still a writer trying to sell your work, so don’t allow yourself clumsy or badly expressed sentences. Fail to use our incredible Agent Submission Builder. These tools help you structure and write your synopsis and your query letter in a trice. Or even less than that – a dice. You can get them for free here. Watcha waitin’ for? If you’re not making those errors, you should be good to go. If you need help on getting your plot structure right in the first place, then check out these links: how to plot, more on using plot outlines, and how to apply the snowflake method to your story construction process. Synopsis: An Example This is a synopsis example penned by one of our own clients, Tracy Gilpin. The synopsis (and the book) went on to wow a literary agent and secure a book deal. Synopsis Of Double Cross By Tracy Gilpin Dunai Marks discovers the strangled corpse of Siobhan Craig, an activist who is not only her employer but also a mother figure; Dunai had been abandoned at an orphanage as a baby. Siobhan was about to present to government the results of a controversial population control model for possible implementation at national level. Dunai believes this is the reason she was murdered. The investigating officer on the case is instructed by an agent of the National Intelligence Agency to treat the murder as a botched burglary. Although some evidence points in this direction, Dunai believes Siobhan’s murder was work-related, which means she and Bryan, an American statistician, could be in danger. She strikes a deal with Carl, a private investigator. If she is able to find a motive for the murder he will show her how to go about catching the killer. Dunai discovers Siobhan was blackmailing five people who stood in the way of her pilot project, and was involved with a subversive group of radical feminists called Cerchio Del Gaia whose insignia is a double cross. Dunai and Carl investigate the individuals blackmailed by Siobhan. They include: an anti-abortion activist, the head of an all-male religious fundamentalist group, an Anglican bishop, a member of local government, and a USAID official. One of these suspects was the last person to see Siobhan alive, another is known to have approached a contract killer a month before her murder. Cerchio Del Gaia becomes increasingly entangled in both Dunai’s life and the investigation, and she is told that if she joins the group she will have access to information about her birth. The National Intelligence Agency is on a similar tack; if Dunai infiltrates Cerchio Del Gaia, which they believe is an international terrorist organisation, they will provide her with information about her origins. Dunai turns down both offers and the mystery of her birth and abandonment is eventually revealed by a woman claiming to be Siobhan’s sister, Dunai’s birth mother and the head of the South African chapter of Cerchio Del Gaia. Throughout the investigation Dunai has searched for Mr Bojangles, a schizophrenic vagrant who may have seen the murderer. When she eventually finds him he seems to be of little help, yet it is his ramblings along with another clue that leads to her close friend and colleague, Bryan, who has been wanted by the FBI for twenty years for terrorist activities in the US. Bryan murdered Siobhan after discovering she intended betraying him to the National Intelligence Agency to deflect attention from Cerchio Del Gaia and as proof that she abided by the law even when it meant personal sacrifice. Carl, who is now romantically involved with Dunai, offers to continue her training as an investigator and she agrees to divide her time between this and Siobhan’s NGO. What Next? We suggest using Tracy’s synopsis as a great example for your own synopsis format. If you need more help writing your synopsis and query letter, we offer an agent submission pack review, which is one of the many manuscript editing services we provide. Happy writing – and have fun. Frequently Asked Questions How Do You Write A Good Novel Synopsis? To write a good synopsis, you need to write in the third person; use correct grammar; examine the structure of your novel and include all the main plot points; write in neutral language; include your hook; ensure you stick to the word count; layer in information about your characters; include all spoilers and plot twists; and include your novel\'s title. What Should Be Included In A Novel Synopsis? A novel synopsis should include: your premise/hook, the overall plot (all of the major plot points), an introduction to your main characters, plot twists and spoilers, and character development arcs. How Many Words Should A Novel Synopsis Be? Synopsis lengths can vary- check to see the length the literary agent you\'re querying has suggested- but they tend to be around 500 words long.

Sophie Beal came to the Festival of Writing 2018. She did not get an agent, but did get inspired. Dear Myself-of-the-Weeks-Before-the-Festival, This letter is for you, poring over the Jericho resources, searching for wisdom on those ultimate questions: how can I know the Festival won’t be a waste of time and money? And what if, instead of an agent, I get conclusive proof I’m delusional? These are the things you’ll want to know up front. You don’t make any of the competition shortlists. You have a very depressing 1-2-1. That dream, where agents and publishers stalk you? It doesn’t happen. You’re now wondering if you should cut your losses, stay in Bournemouth and save the petrol. Keep reading. Sometimes, people meet their agent in the coffee queue. This is unlikely in your case. Either, you’ll be too scared to strike up conversation, or not be scared enough and say something really stupid. So there you are. Four hundred and sixty pounds down, no chance of representation and surrounded by three hundred odd people all after roughly the same thing. It’s going to be murder, right? That’s what you’re thinking. That first 1-2-1 is not the agent’s fault. She’s lovely, but doesn’t think you’re the next Tolstoy. “I’m getting caught up in the medical red tape,” she says. She has no idea of the time you’ve spent trying to make sure that didn’t happen. You sit there and listen. You write notes. You return to your session. Then you go back to your room and grieve. After all, unless something magic happens, this is probably the end of the line for your novel. After eleven years. If you could fit this into the hour and a half before dinner, it would be an ideal time and place. It’s quiet. There are no children asking you for snacks or arbitration. But you’ve a soul to vomit and mealtime comes all too soon. You’re not pretty when you cry. People will assume you’re dying of something they don’t want to catch. Or they’ll know the truth – that you’re not as good as you hoped. You drag Rachel, your trusty writing partner, to your room. She gives you a good hug, and supervises you while you rinse your eyes in warm water and make your way towards food. And there you meet someone else who hasn’t yet had either of their 1-2-1s, but is thoroughly fed up with the submission process. You share your own tale of woe. And the lady on the other side shares hers. And you say things to each other you would usually reserve for the mirror (or Rachel). Like, “I think I’m good.” Someone buys three gins and tonic and instead of slipping out before Friday Night Live, you surprise yourself by staying up to whinge until eleven thirty (that’s three am in young person time). You’re still feeling a little fragile the next morning, but all that panic-surfing has paid off. You remember Emma Darwin’s blog. You have your first coherent thoughts: You really didn’t think your world through before you wrote your novel. Your main characters are academic anaesthetists. How many non-medics know those exist? And there’s so much more you need to set up alongside the love story, including the ambition and rivalry. World-building in these circumstances is difficult, but it doesn’t necessarily mean the novel is doomed. The agent didn’t criticise your prose, your first page, or your characterisation. A lot of your work has paid off. Mandy Berriman had a difficult journey to publication. People have told you she’s lovely. You will try to speak to her. Together with a cooked breakfast, you’ve reason enough to get out of bed. Penny Holroyde and Allie Spencer sit at your table in the canteen. This is the moment you should try and impress Penny who is after all an agent. But when they ask you about your festival, you end up telling them the truth. It’s the best thing you can do. They are both lovely. “So many published authors I know, have a novel they love but can’t sell,” says Allie. “It doesn’t mean it’s not any good.” You talk about easy reading for thinkers.  She wrote her first romantic comedy about a young barrister, so understands your world-building issues and gives you some pointers. You come away thoroughly inspired. That is your “all is lost moment” done and dusted. Having planned plenty of alone time, you don’t miss a thing after that: Sarah Pinborough may apologise for waffling in her keynote lecture, but has everyone in stitches as she describes life as a published author. And everyone’s crying by the end of Julie Cohen’s session about Pixar story-telling. At the book club and literary industry panel you’re told genre boundaries are blurring. Pinning your book down as literary or commercial doesn’t matter as much as it did. Finally, someone produces a useful definition of book club fiction. It’s obvious really: “something people want to talk about with their friends.” You contemplate skiving the Futurecast session. It’s on Sunday morning; you’re tired and already know vampires are out, uplit and psychological thrillers in. But there’s loads more to learn. Afterwards, everyone you speak to is considering self-publishing. And somewhere in the middle of all that, you have a second 1-2-1. It’s far more relaxed than your first, possibly because you now know the problem. You bring up the world-building issue yourself. She suggests emphasising the love story over the setting from the start. But she says, “You’re clearly a very good writer.” You have time left. You could show her your elevator pitch for novel number two, but you forget and use the minutes up blithering about how much her opinion means to you. There you are: three competitions, two 1-2-1s and no agent. But you now understand more about how you could fit into the industry. And you’ve found the rest of the people like you in the world. The money isn’t wasted. On Sunday morning, you listen to Mandy Berriman’s keynote session and her full story of knockbacks, perseverance and eventual success with her second novel. Over lunch, you tell your fellow writers about your novel number two. “That one will be so much easier to sell. I can condense the idea down into a few sentences.” You tell them it’s about a couple about to abandon fertility treatment when the woman is raped. She then discovers she is pregnant. She thinks the baby is her husband’s. He thinks she’s delusional and wants an abortion. Someone says, “I’m wondering what I’d do.” And someone else, “You need to write that.” Then you remember you’re actually on your second draft. This sets off those pesky dreams again. You see yourself up on the main stage, about to publish your first novel as your second. The editor next to you is saying, “I couldn’t believe she had something so marvellous in her bottom drawer.” With very best wishes Sophie Beal

I got a call from my agent.  “I have news.” I sat on my kitchen table, my feet on a chair, my elbows on my knees, one finger jammed in the other ear, the better to hear. For the first time in days I hadn’t been obsessively checking my inbox; I’d let it go, I’d given up, I’d said to myself, oh well, I’ll just have to write something better.  I’d gone off to town with my children, I hadn’t looked at my phone all day till I was home and saw three missed calls and an email saying, do call when you have a minute.  I was holding the phone in my hands, staring at the screen, when it rang again. It’s a bit like when you’re pregnant for the first time, all you think about is the birth.  Not the aftermath, the what comes next, the slow reveal of fears you never thought you’d have.  I’d spent a decade driving at representation, a manuscript finished and loved and taken up by an agent.  When I signed with Jenny Savill following FoW16, I thought that was it.  It was a height I had dreamt of and not once had I thought beyond it.  It had never crossed my mind that anything would be as fraught. A friend once commented that being taken up by an agent was child’s play compared to selling to a publisher. A writer can submit to the same agent year on year if they want. But once a publisher turns your book down, that’s it. It’s a one shot game. At the beginning, with Frankfurt Book Fair looming and all the excitement of total ignorance, I was convinced I’d hear within days, hours, of easy success. Instead the weekly updates from Jenny were crammed with kind, encouraging notices of failure. It was three weeks into that torment of declines that Jenny gave me the best advice I’d ever had.  Lower your expectations she said to my whining misery that I hadn’t been bought overnight, that the industry moves at its own quiet pace, that clearly I knew nothing.  And when it seemed like pessimism was getting the better of me, she said It’s not over yet.  But Christmas came and went and my infant novel looked for all the world as if it would never make it to adulthood.  I practised saying it happens and searched for examples of Booker Prize winners who’d struggled to find air.  I got on with writing something else. A trip to town on a freezing afternoon at the end of January, my children needing boots, or the dentist, or maybe I just needed to get out of the kitchen and away from what felt like humiliation – I don’t remember anything of that day except coming home, and checking my phone for the first time since breakfast, and seeing three missed calls and an email.  When it rang in my hand my heart jumped and my breathing went funny. “We’ve had an offer.”  And then she told me who it was, and I sat on my kitchen table with my feet on a chair, and my elbows on my knees and one finger jammed in the other ear, and I couldn’t believe what I was hearing. My debut, ‘A Perfect Explanation’, came out in March 2019, published by Salt Books, one of the finest independent publishers of literary fiction.  It happened; the thing that I gave no thought to, that I presumed would be easy, and wasn’t and felt crushed by.  Those four months seem like nothing now, but looking back at the struggle, I have learnt this: that every step is a test of what you know and reveal of what you don’t, and when a brilliant and hard working agent and you decide to work together, remember it is just the beginning.

Isabel Costello’s debut novel Paris Mon Amour was released in June 2016 in digital and audiobook. She also hosts the Literary Sofa blog, where you can find her selection of recommended Summer Reads 2016. Isabel attended the  Festival of Writing in 2012 and 2013 and hopes to return one day! Like any endeavour measured in years, my journey to publication has many significant milestones, starting with the decision seven years ago to stop talking about wanting to write (don’t most people?) and get on with it (many people don’t). Fast-forward three years and I had a novel ready to submit to agents (or so I thought) and attending the Festival of Writing for the first time in 2012 was a watershed. As well as being sociable, stimulating and educational, it made me realise just how many people shared my precise goal of getting their novel published. It was the best kind of wake-up call: slightly alarming at the time but the catalyst for good things. Without it I doubt I’d have reached – another four years later! – the most exciting landmark so far: publication of my debut novel. Many people have been astonishingly generous and supportive on a road that’s had a few bumps, as most paths to publication do. I’ve learned a lot – and not just about how to write books. This is definitely not a ‘How to...’ (it’s pretty obvious I don’t have a magic formula.) For me and most of the writers I know, getting published has been mostly down to persistence and hard work. The Secret To Getting An Agent 1. Reading Matters Reading as a writer alters the experience in a way that can be distracting, but noticing the structure, the language, even being able to guess the twist or the ending three chapters in (so annoying!) are signs of developing your own sense of what works. Payback time comes when you forget to register any of that because you’re so immersed in the story. That’s inspiration. It’s what you’re aiming for. 2. Friends Matter You might be – and hopefully are – writing ‘the book or story only you can write’ but that doesn’t mean you have to go it alone. The camaraderie and support amongst writers at all stages has been one of the best parts for me. It’s easy to others at events like the Festival of Writing �� I’ve made wonderful friends this way I would never have met otherwise. But keep in touch with your other friends to avoid living in a literary bubble. 3. It\'s All About The Book - Seriously, It Is And a very large side of luck and timing. In a business where getting anywhere is very hard, it’s easy to invent imaginary obstacles. It probably doesn’t hurt to be young, movie-star gorgeous with a life story as fascinating as your book, but it’s far from essential. Not saying they aren’t great, but you do not need an MA in creative writing. (I have no writing qualifications.) And don’t fret about ‘who you know’ (or don’t) in the business. Frankly, if that made a difference it wouldn’t have taken me this long to get published! 4. There\'s Nothing Like Editorial Input This is a tricky one because it generally involves money, but the reality is that to get noticed by agents, publishers or competition judges you need to be submitting work that’s already of publishable standard, or very close. When I think mine’s good enough, it rarely is, and the honest, constructive input you need at that point is unlikely to come from anyone who’s not a confident and experienced editor. A structural edit following my first Festival of Writing transformed my fortunes entirely, resulting in a choice of agents. It was worth every penny. 5. Don\'t Pin Your Happiness On An Outcome You Can\'t Control Learning to cope with the inevitable setbacks in a positive way is important, and something I’ve discussed openly along the way. Some advice from Lionel Shriver at an event I attended has stayed with me: write what matters to you – it’s the only way you can be sure your time is well spent. There are no guarantees in this business. Although it’s impossible to avoid completely, comparing yourself to others – your process, your book, your success – is not a good use of time or energy. The most important lesson I’ve learned is to focus on the only part I can control: producing the best work I can. Closely followed by enjoying other things! 6. Visualise Writing Success, But Not What It Looks Like I know this sounds like a contradiction, but positive thinking can be a self-fulfilling prophesy too! I could always picture myself succeeding, however remote the prospect (and for a long time it really was). ‘Disruption’ in the book business has led to many new ways of reaching readers. I may not have anticipated my novel coming out first in digital and audio but I know an exciting opportunity when I see one. 7. The Right Way To Write Is The Way That Works For You Faced with the deluge of generic tips directed at writers, there’s an art to identifying those which motivate, assist and inspire you in your work – thereby making it more enjoyable, and you more likely to stick at it – and ignoring all the rest. For every person inspired by ‘write what you know’ or ‘write every day’ there are many more left cursing and grinding their teeth. Ultimately it’s not about the method; it’s the end result that matters. Structural feedback may just help you get there, too.

Blogger and newly-published author Lucy Ayrton shares with Jericho Writers the experience of the early stages of her career and her tips on how to become a writer, but also reflects on what it really means to write and if there is a difference between writers and authors. The first time I ever seriously called myself a writer was on my wedding day. They ask you what your job is, to put on the wedding form. I dutifully wrote “Communications Manager” down and my soon-to-be husband nudged me. “That’s not all, though. What about your writing day?” I rolled my eyes. “They don’t need to have that on the form.” He shrugged. “It’s your job.” And I wrote it down for the first time. “Communications Manager and Writer.” I am a writer. It takes a while to claim, as an identity. The line between “writer” and “not-writer” is not clear cut. I mean, I’ve been able to write since I was about five. Maybe I wrote my first story when I was seven or eight. My first poem about the same time. But I wasn’t a writer. What about when I started scribbling in my spare time as a teenager? Or when I came second in the country poetry competition when I was seventeen? Was it when I got onto my creative writing MA? Or was it only once I’d finished a body of work? People love to say that “writers write” – but that’s ridiculous, surely. Write what? How much? How well? It’s meaningless. Writer is a title that you have to bestow on yourself. By contrast, the line between “writer” and “author” is very straightforward. When you’re published, you’re an author, and that’s that. And this is my publication week, so I’m about to become an author. I have been looking forward to this for a very long time. It’s emotionally very difficult being a writer. You’ve got a day job, probably, and friends and family and other commitments and a life. It’s a big ask to carve out time to lock yourself away in a room and hang around with people you’ve made up in your head. You have to do a fair amount of not-going-to-the-pub, and going-to-bed-early-I’m-writing-tomorrow-morning, and basically being less fun than you could be. It is a choice you have made, between writing and watching Jurassic Park and drinking wine with your girlfriend, and you know it. When there’s just you and the book, making these choices can make you feel a little bit… stupid. You’re painfully aware there’s no guarantee that anyone’s ever actually going to read your work. It’s easy to wonder what it’s for. And I would always say that it ultimately doesn’t matter. The process of writing is valuable in and of itself, and the work produced has value too. I’d be miserable if I couldn’t write, and whether my work gets sold in bookshops or emailed to close friends doesn’t change that – if I didn’t write and share stories then I wouldn’t be me, and that’s why I do it. Art that isn’t sold is still art. But I’ll be honest, when I first got my book deal, the idea that my work was going to be a “real book” was a massive lift. I felt vindicated – all those times I’d felt a bit silly for the compromises and sacrifices I’d made, I’d proved it was worth it. I wasn’t missing out on other experiences to do a kind of grown-up version of playing with my dolls – this was a serious business. This wasn’t just some scribblings sitting on my hard drive anymore. I had undeniably made something, and now people were going to read it. I felt like “being an author” was going to change everything again. This time it would be even better, and  surely I would never have to doubt myself or feel stupid ever again – because I was an Author. I kept waiting to feel it – the rush of “being an author”. I thought it would happen when I first held the hard copy of my book. Like having a baby, I vaguely thought. I’ll hold it and suddenly feel it – suddenly understand. My author-ness will descend on me. And it really was brilliant holding my baby book for the first time. I flipped through it and cried and took photos of it with a glass of champagne. It was such a lovely evening. The thing is though – nothing changed. I still had to sit on my bum the next day and write the first draft of the next book when I could have been re-watching Game of Thrones. It’s not like I really needed the permission. My process hadn’t changed and neither had I. The little bit of swagger was lovely to have – a bit of spring in my step, a bit of a smirk when I opened my laptop  – but essentially I am still the same woman tapping away at her laptop wearing PJs while everyone else is at the pub watching football. Writing life is exactly the same. Ultimately, I don’t feel different. I’d assumed that it would either help, or paralyse me – the idea of a faceless audience, a crowd of people I’ve never met reading my precious words. I’d assumed that it would change things. But when I come to actually write, it’s still the way it’s always been – just me and the page and maybe an idea of just one person, who I’m telling a story to. But then, publication is still 3 days away. I’ll let you know. How To Become An Author: Tips For Your Writing Career So here is some useful advice I’ve had on being a “baby-author”: Say thank you to everyone. I’ve read this advice from a few different people. It seems like a decent life rule in general! But also, I’ve been thanked for a positive review or a nice tweet before and it feels amazing. Get a new signature. You need a new signature – a different one to the one on your bank card – for signings. This is to make it harder for people to embezzle you. Get a uniform. A friend told me it was a good idea to decide upon an “author’s uniform” so that you’re a bit more recognisable at events and also you never have to worry about what you’re wearing. I actually already have this from my poetry career – a pretty dress plus Doc Martens. Think about money. It can be very easy to lose a handle on any income when you haven’t earnt from writing before. Luckily I had a hustle-heavy poetry career to teach me this. It’s always good to have a rough idea of how much you’ll charge for what (ie a visit to a school) so that if someone offers you some work you won’t be caught on the hop and agree to do a week’s worth of workshops for £10. Think about travel expenses! Also, if you’re not already a freelancer, sort your business side out. Make friends with other authors/book industry people. This is partly so that they can give you more helpful advice along the lines of the above. Mainly though, this is because having a network of friends and colleagues who just bloody LOVE BOOKS as much as you is a childhood dream in and of itself. Author Lucy’s debut novel One More Chance is available now from Dialogue Books. The novel follows the story of Dani, a London prison inmate, and combines physiological suspense with contemporary women’s fiction. To learn more about how to become an author from Lucy’s perspective, have a look at her blog ‘Books and Bakes and Beverages’ here where she writes about the day to day happenings in her writing career.

Steve Cavanagh is a human rights lawyer working in Northern Ireland. The Defence is his debut novel, which was longlisted for the Crime Writer’s Association Ian Fleming Steel Dagger, and shortlisted for two Dead Good Readers Awards. Luca Veste, a former civil servant, guitarist and actor, is author of the Murphy & Rossi crime series and editor of the Spinetingler-nominated charity anthology ‘Off The Record’. Luca – I’m endlessly fascinated by the story of a writer’s journey. I started out quite late – I thought – with my own writing career. I didn’t write stories or anything of that sort until I was 28, so I’ve only been at this thing of ours for a few years. Speaking to other writers however, I know there’s a fair few out there who started writing when they were young, in school, getting attention for having a big imagination. How did it start out for you? Steve – For me the desire to tell stories started early, but it took me a fair few years to get my ass in gear to do it. My Granda and my Dad would sit around with their friends, most nights, telling stories. I would just sit and listen, fascinated. Neither my Dad or my Granda read much, but my Mum did. She read four or five books a week, and I caught the crime bug from her. When I was young, far too young in retrospect, she gave me a copy of The Silence of the Lambs and that changed everything for me. I read all the books, especially American crime thrillers, that I could get my hands on. But when it came to writing, I didn’t write crime at first. In my late teens I started writing screenplays, mostly comedies. I even got an agent, but he couldn’t get anything sold so I gave up age 21. After that I always harboured the fantasy of writing a book, but never did it. Then in 2011, when I was aged 35, my Mum passed away quite suddenly. She was the only person who ever encouraged me to write so I thought I’d give it one more shot, for her. I started writing The Defence in September 2011, in secret, after a 14-year break. What about you? Starting at 28 doesn’t seem late at all. And you’ve still got your hair! Luca – Yes, although being half Italian, I would be very annoyed if I lost my hair this soon. We’re a hirsute bunch. Like you, I was surrounded by stories in my family. And jokes. Everyone always has a funny story to top the last one. My dad was a screenwriter as it happens and actually made a film back in the 90s. I was a voracious reader as a child as well. Started with Enid Blyton and then went into horror when I was a teenager. I didn’t really read crime until I was around 23 – which was about 7 years after I’d pretty much stopped reading and started doing “teenage” things – and someone gave me Mark Billingham’s first book. I quickly caught up with his series and have read predominantly crime books since. Dead Gone – my first book – started out life as a very different book and came from writing short stories and progressing to something longer. I abandoned the first version of that story – which was a woeful scouse gangster-style cliche of a novel – and wrote a first draft in a few months. Then, redrafted three times to finally land an agent for it around a year later. How long did it take you to get an agent? Steve – Well, first, Dead Gone is a blinder of a debut. The work paid off. Getting an agent? Well, that took a while. It took me about six or seven months to do the first draft of The Defence, then I spent maybe another six months redrafting it, polishing it. So I think it started looking for an agent mid-2012. And I finally got one in April 2013 so probably around nine months to get representation. And I tell you, those were a hard nine months. I started off trying to get a US agent, but I didn’t think I was good enough to go for any of the big agencies, so I mainly tried the small and medium sized agencies. And I got a lot of rejections. Then, I got a little hint of light at the end of the tunnel. I started to get requests for the first three chapters, from agents that just wanted a pitch letter, and then requests for the full manuscript. I got a real buzz from this and a bigger downer when the rejections came back. One agency really loved the first three chapters, and requested the full book. I was enthusiastic about this small UK based agency, but I’d been in that situation before, so I thought I may as well try a couple of the bigger agents. I was getting rejections, anyway, so I thought I may as well get rejected by the best. I remember it was a Monday night, I got the email from the small agency who’d read the full manuscript and who I’d been really keen on. They hated it. It was a rejection which contained the lines, “You can write, but this book will never be published. Write something else and we’ll read it.” Man, I was devastated. I thought, that’s it – this book is over I need to write something else. Then on the Wednesday I had two of the biggest agencies in the UK come back and offer representation for the same book that I’d been told would never be published. It was an amazing feeling. So now I’m very proud to be a Heathen (I’m represented by AM Heath). How did you hook up with your agent? Luca – I was quite bullish when it came to finding an agent. I knew a few other writers at the time and there were a couple who always raved about their agent. Now, I edited a couple of charity anthologies around that time, and I think that agent was tipped off that I was writing a novel. He sent me a message on Twitter saying good work on the anthologies, when you’ve got a novel to show people, I’d love to read it. That was back in February 2012. I finished the first draft in about March, read it once, thought it was as good as it was ever going to be, and sent it to the agent. He rejected it, somewhat nicely, a few weeks later. I took his notes on board, redrafted, and sent it back in the June. He rejected that one as well, with the option to resend another draft. I was, similar to you, devastated. I’d worked tirelessly on all the notes and only succeeded in creating new problems. By this point, I was convinced I couldn’t write a better book, so decided to send it to four other agents. One rejected within a day, as they had decided to concentrate on children’s fiction. The other three agents asked for the full manuscript. As a matter of courtesy, I emailed the original agent, who by now was quite friendly with me, and let him know I was showing other agents the book and was getting some interest. I received an email back straight away, asking if I could speak on the phone. What followed was ninety minutes of the agent telling me exactly what was wrong with the book, what need fixing, and a general tearing apart of my work. The last five minutes of the call was him offering me representation. I pretty much immediately accepted the offer. Best decision I’ve ever made. I rewrote the book in a month, working almost every hour I was awake (which as an insomniac, is quite a few), and he was happy with the result. What is bizarre, is that it took only six weeks after that to find a publisher. A year to get an agent, six weeks to get a publisher … shows how valuable a good agent can be, and I have a great one in Phil Patterson. The Defence is ridiculously good. To the point where I was hoping it wasn’t really a debut, but a new novel from an established writer under a pseudonym. I can only imagine it was picked up the next day by a publisher in a sixteen-way auction? Steve – That’s class. I love that story. What I hear sometimes from writers who are looking for an agent, or a publishing deal, is that they are quite precious about their book. Which is totally the wrong attitude. When you write your first book you basically know nothing. You learn by writing and then it’s your agent’s and publisher’s job to point out all the shit that you can’t see and make the book better. Thanks for the kind words about The Defence. It was picked up quick, but only after a lot of work. I got representation from Euan Thorneycroft in April 2013, and he sent me pages of notes on the book; what worked, what didn’t work. I knew we were a good match because everything he thought needed changing really did need changing, but I just couldn’t see that. So I worked on the book flat out, and we got it ready for submission in September. I remember Euan telling me he was sending it out and that it could take months to hear back, so he would email me in three or four weeks and let me know how we got on. That was on a Monday. On the Friday I was stood in my hall, when I got an email. It was from Euan – there was an offer for the book in the UK. Four offers. He would be conducting an auction. I was completely blown away. I remember running into the living room and telling my wife that the book would be published. At that stage I didn’t care who published it, but I knew somebody would and that was enough. In the end I went with Orion, who publish some of my heroes and things have worked out well. So in your first book we meet DI David Murphy and DS Laura Rossi. How did you go about shaping those characters and did you conceive the first book as the beginning of a series? If you didn’t, is there anything you would change now? Luca – That’s my favourite kind of publishing story. Unsurprising, given how good it is, but there’s still an element of doubt with anything regarding publishing! Well, Murphy happened quite by accident. I’ve already mentioned the discarded scouse-gangster novel, which contained an element of what makes up Dead Gone – the psychology angle, someone killing people based on real psychological experiments etc. When I started over, I kept the psychology bit, and disregarded everything else. I remember I was re-reading one of my favourite books – The 50/50 Killer by Steve Mosby – and thinking I wanted to write something more like that. So, I started with the woman on the night out, getting in the taxi, and disappearing. Then, I was going to concentrate on her partner, but realised writing those ‘ordinary people in extraordinary situations’ novels were extremely difficult to write! I decided I needed a police point of view, as they could do things ordinary people couldn’t really. My uncle is an ex-copper, so I used him as a basis. He shares his physical size, nickname, some of his qualities, but has none of the baggage Murphy does. Once I started writing about Murphy, I just found he was more interesting to me. Murphy quickly usurped the boyfriend character and became the star. However, back then, his sidekick was a bloke called Nick Ayris. Going back to that phone conversation with Agent Phil, he casually mentioned that usually it’s a male/female partnership, and that there was nothing Italian in the book. Which was surprising to him, given I was half-Italian. Nick Ayris became Laura Rossi and that’s why agents are important! Rossi is by far my favourite character to write now. I can get all these little things about my Italian family in there – my nan asking me if I’m hungry as soon as I’d walked through the door, before saying hello, my dad swearing in Italian, the quick-temper, etc. I did envisage a series if it got picked up, but I’d still change things. I probably wouldn’t have Murphy having quite such a lot of baggage to carry, although that worked (hopefully) eventually. That’s about it though. There’s no plan as such, but I have ideas for about seven or eight books total. I’m writing number four now, so I’m halfway through! And those ideas will probably change. You and Eddie Flynn … always a series as well? Steve – Have to say I love Rossi; the Italian swearing! She is such a great character. Ahm, yeah, I had an idea for the character first. A con artist who became a lawyer, because I wanted to explore the overlap in those professions and how a trial works – the art of cross examination and how that really is the art of persuasion, misdirection and manipulation. Before the book got picked up I had an idea for four or five, and I really wanted to start writing them but I knew The Defence had to be the first one. If that book hadn’t been published I wouldn’t be writing about that character because the events in The Defence cause Eddie to fall back into his old hustler ways. No other storyline could’ve achieved that in the same way. Right now I’m writing the third book. I love series characters, so it felt natural to try and start my own. Although, I’ve been hit with several decent ideas for standalone books lately. I don’t know if I’ll write them. Maybe down the line. Do you ever think of trying a standalone? And how do you go about writing? Plotter, pantser, when and how do you write? Luca – Can’t wait to read more Eddie. I’ve got the beginning of a standalone in a word doc on my computer. It’s pretty much plotted out as well, but I’m happy writing the series for now. I’m a big fan of series characters as well, so I’m happy at the moment. I’m a little of both. I plot a little, then just write for a while, before plotting a little more. Usually, this leads to me rewriting half a book, four weeks before a deadline though! I start with a small idea. Then, I need some sort of theme – with the new one, Bloodstream, it’s about love and media – and I can just go from there. With my books, there’s always an investigation that starts you off, which usually involves a body or the lack of one, so it’s just a battle against making that too samey/cliche and just writing. Then rewriting. Then throwing things at the wall and hoping inspiration hits at some point! Do you plan much? And the same question about standalones to you… would you consider writing something set in your own country? Steve – That’s interesting that you start off with a theme. I know Ian Rankin does something similar so you’re in good company. I think doing it that way, with a theme in mind, really helps you focus on what you want to achieve with the book. I’m reading Bloodstream at the moment, and loving it. The whole celebrity thing is well done, and my wife zipped through the book in a day or so. I tend not to have a theme, and one or two kind of emerge. I don’t plot or plan anything. I write line by line, and then I go back and rewrite the beginning until I have it nailed. Once I’ve got a decent 50 pages or so, I’m off and I don’t tend to look back until I’m almost at the end. Then I stop. Go back and redraft from the beginning before I write the end. It’s a weird process. I tend to have a vague idea, and go from there. The second book, The Plea, touches on white collar crime like money laundering and how it’s done in the digital age, and there’s a locked room mystery done with CCTV. (A word of advice to new writers. NEVER do a locked room mystery, not until you are well down the line with at least a couple of books under your belt. And then plan it all out from the beginning.) Standalones are very appealing when you’re writing a series, but also scary. I think you have to time it right. That last thing you want to do is release a standalone when everyone is waiting for the next book in the series. It never quite has the same impact. I don’t know if I’d write something set in Northern Ireland. I won’t rule it out, but the ideas for standalones that are kicking around in my head are set in the US. Although, I did have one idea for a Northern Ireland story, but I sort of think that would work much better on TV than in a book. Luca – I’ll take the company of Ian Rankin. I saved a penalty of his, in a crime writers’ football match. I don’t mention it very often. Locked room mystery, ouch. That’s not something I have planned to do any time soon! Interesting that Northern Ireland hasn’t really featured much in your planning. When I started out, I couldn’t imagine setting my books anywhere other than Liverpool. I can’t really imagine writing about anywhere else, even with the help of Google Maps. You didn’t just choose a different city, but an entirely different country. How does that work and is it solely so you can pass of US holidays as expenses? Steve – A US holiday would be very nice. It’s not so much of a leap really. I grew up watching US TV shows and reading books set in the US, so the language, the rhythms, the pace and the locations, all seem very real to me. Plus, New York fits with the pace and the style of story I wanted to write. And by setting it in New York I can cheat. If I’d set it somewhere in North Carolina, I’d have to take a fair bit of time to describe the place. Whereas, as soon I say New York, every single person reading the book immediately creates their own mental image without me having to help them too much. If I’d set the book in Belfast it just wouldn’t have worked. Plus, look at all the writers coming out of Northern Ireland, like Stuart Neville, Brian McGilloway, Eoin McNamee, Adrian McKinty, Gerard Brennan, Claire MacGowan. I just couldn’t compete with that lot. How important is setting to you? A few of the places and buildings in The Defence are fictional, any fictional settings or are they all meticulously researched? And what does Liverpool add to the series, for you? Luca – Stuart Neville, now there’s a writer. When I grow up, I want to be as good as him. Nothing really fictional in my book. Everything exists, with a couple of minor changes here and there, so no one sues me. There’s a house in the first book which plays a major role in the ending and that’s slightly invented. The road it’s on exists, but the house itself is a creation. My police characters work from the real offices in the city centre, they live in real locations (again with some alterations), and I hope daily that it doesn’t get me into trouble! Liverpool to me just feels natural. It’s a setting not really utilised in crime fiction, so I have that going for me, as it’s somewhere new for readers to discover. It’s big enough, that I have many locations within it to utilise. Plus, there are so many different characters in Liverpool, that I can bring in realism to what is an unrealistic topic. We last had a serial killer in Liverpool back in the 1800s (we’ve exported a couple since then, but never had any on the streets from what I know), which means my serial killer books don’t really conform to the reality of the city. Hopefully, with the characters, topics, and locations, I can make it a little more realistic. What’s the one thing you want to achieve in your writing career … awards, events, etc.? Steve – You should set your books in Northern Ireland, we’ve had more than our fair share of serial killers. And I totally agree about Stuart – phenomenal talent. The one thing I want to achieve? I don’t know if I could narrow it down to just one thing. It’s weird, when you’re struggling to be published you just want to have that moment of seeing your book on a shelf. When you’ve achieved that, then you want somebody to actually buy the bloody book, take it home, read it and enjoy it. Then you want lots of people to do that. Ideally, enough to get you onto the bestseller list – so I think your goals change throughout your career. I’m sure there are well known bestselling writers, who want higher sales, and better chart positions every year. For me, I have two goals. One is to be able to sell enough books, and make enough money that I could be financially stable and support my family through my writing. That is the big one for me. Second goal, to write a better book than the last one, year on year. Awards are totally in the lap of the Gods. You do your best and if someone wants to give you an award, well that’s lovely. But there are plenty of amazing crime novels that don’t win awards but stay in print and become classics. The other part of this writing game is getting to meet so many other great writers. There are still a few legends on my list of people that I want to meet – Stephen King for one. What about you – career goals? Luca – Similar to you, I just want to write a better book than the last one. Security would be up there as well. I’d love to have a novel in hardback, as that’s something I always equate with quality (for some unknown reason). Awards – I’d like them and I hate people who have them (jokes!), but not a top priority. I’ll be standing next to you when you meet Stephen King. My literary hero. Which neatly leads me into a conclusion to this conversation. What’s your favourite book? Mine is by the aforementioned – and soon to be Steve and Luca’s best mate – Stephen King, and is The Stand. Steve – If we meet Stephen King I’m going ask him to take a photograph of you and me. Just for the Craic. (“Excuse me, Mr King. Could we get a photo?” “Why sure,” says Stephen King.) I’m joking of course. I’d be a complete gibbering mess meeting somebody like him. That would be a cool day, and another reason to envy Stuart who has indeed met the man. Favourite book? I haven’t read it in years, but The Lord of The Rings used to be my favourite book. I used to read it every Christmas, for about ten years. Now I think I’d have to go with Red Dragon, or The Firm. If you’d asked me last week I would’ve said Every Dead Thing by John Connolly or The Concrete Blonde by Michael Connelly. My favourites change all the time. And as a final bit, best bit of writing advice you can give to a new writer? Luca – Ha! We must do that. Hopefully in the future we’ll get the chance. I’m awful with advice, but here’s the best I can do … finish. Whatever you’re writing, just finish it. That’s the hardest part of writing, I think. Finishing the bloody thing. Having a complete story in front of you makes things much easier. Then, you can get to the fun part. Rewriting. Your advice? Steve – Read and write. Read the best books you can find and aspire to get close to that level. And write as much as you can every single day. It’s the only way to improve. More about Steve Cavanagh:Steve was born and raised in Belfast and is a practicing lawyer. He is married with two young children. The Defence, has been chosen as one of Amazon’s 2015 Rising Stars programme. The Defence was longlisted for the Crime Writer’s Association Ian Fleming Steel Dagger, and shortlisted for two Dead Good Readers Awards for Best Ending and Most Recommended Book. Steve writes fast-paced legal thrillers set in New York City featuring lawyer and former con artist, Eddie Flynn. The Defence is his first novel. Find out more at www.stevecavanagh.com or follow Steve on Twitter @SSCav More about Luca Veste:Luca is a writer of Scouse and Italian heritage, author of the Murphy & Rossi series. His latest book is called Bloodstream. He is also the editor of the Spinetingler Award nominated charity anthology ‘Off The Record’. He is a former civil servant, actor, singer and guitarist (although he still picks it up now and again). He can be found at www.lucaveste.com and on twitter @LucaVeste.

Guest author and blogger Tor Udall shares her story of publishing A Thousand Paper Birds with Bloomsbury after her time at the Festival of Writing, plus how patience, perseverance and passion were key to success. The Festival of Writing had a transformative impact for me. After signing with my agent, what happened next? More drafts. Another four to be exact, since A Thousand Paper Birds is a many layered thing. Based in Kew Gardens, with five characters, two love triangles and a mysterious death, it’s told from multiple perspectives and two time-frames. Add in a speculative thread and the folds of origami, and you can imagine why it took a while to pin this girl down. I learnt a lot in those two years – not just about my characters and craft, but also about perseverance and passion. There were days when it felt like I was entering a boxing ring, wrestling the pages, and leaving the desk with my jaw bloodied. In one particular draft, I tried so damn hard to please that I took on every suggested edit and ended up with a Frankenstein manuscript, the stitches so coarse you could see the seams. It had no blood in it. No heartbeat. I had to go back and lovingly unpick it, gently resuscitating it back to life and asking it to forgive me – and thankfully it did. It’s a delicate balance – taking in other people’s advice, but also staying true to the world you’ve created and to the book’s anima, or spirit. In September 2015, the manuscript was ready, and we sent it out on submission. What a terrifying process! Within 24 hours, an editor in Italy had read it overnight, fallen head over heels and wanted to make a pre-emptive offer. I thought this is it, we’re on a roll. Then nothing happened, for days. Slowly, other offers came in – Portugal, Netherlands, Russia – but nothing from the UK. The rapturous declines were wonderful, but frustrating (it made me laugh to discover that while agents send ‘rejections’, publishers send ‘declines’ … it’s all so much more civilised!). Finally, we got a bite from one editor (followed by a great meeting), then a few more showed interest, and suddenly editors were taking A Thousand Paper Birds to acquisitions. This is not an easy hurdle – the entire team must love it and in the run-up to Frankfurt Book Fair, a lot of books are vying for attention. Trying to keep positive, I took myself off to Kew Gardens (the book’s location) to hear the Director’s Talk. As I left the event, my phone rang and the moment happened. Bloomsbury had put in an offer. I was standing outside the famous Palm House, in the perfect spot. A couple of times I had to ask Jenny to repeat herself – partly out of disbelief, partly because the ducks were quacking, but there I stood by the glasshouse, my dream solidifying in the trees, the lake, the sky, my body. This elation continued in Frankfurt when Random House in Germany offered me a 2-book deal (without even seeing a synopsis for the second). Signing for a second book felt like the start of a career, a validation. So guess what happened next? Yup. More drafts. Two more. It’s pot-luck on who you get as an editor, but thankfully Alexa von Hirschberg is one helluva talented lady. Sensitive, funny, wise, stylish (we even share the same taste in musicians), she was a joy to work with. The copy-edit, too, was a wonderful experience. The copy-editor’s attention to detail was love-filled. It’s the fine work of the scalpel: ‘do you really want ‘in’ twice in a sentence?’ (see, I’ve just done it again), ‘should it be ‘garden’ or ‘Gardens’? Did you realise that you swap between imperial and metric?’ After the large-scale edits, it was a pleasure to focus on the miniscule. Ten drafts in all. So many different versions, characters cut or changed, whole passages gone, and for a while I worried that I would grieve for all the different ‘Paper Birds’ that had vanished. But when I read through the final edit it was the book it was always supposed to be. Everything had come into focus. During this period, there was a lot of other stuff happening, too. While I was writing the draft(s) of my life I also had to set myself up as a business, dealing with foreign tax forms, complicated contracts, asking the Foreign Office to certify certificates of residence. An illustrator was working on a map of Kew Gardens to go at the front, copy for the blurb and catalogue were needed, copyright permissions required for quotes and lyrics, author photos taken, the jacket design approved (oh my, it’s so flutteringly gorgeous!). Then there was also a pregnancy that involved me injecting myself in the stomach for 9 months daily, a premature baby and the usual sleeplessness and chaos that comes with a new-born – but that’s a whole other story …! And now I have a year to write my second book (the first one took seven years, so you can understand why my eye is twitching!). There’s a host of unknown and wonderful things ahead. And I’m frightened. Of people reading it. Of people not reading it. The author events, the promotion – all challenges for a publishing virgin. But in the end, away from the noise of twitter, book sales, reviews, I know my main job is the work itself: to write the next book better, using everything I’ve learnt. The landscape of language, the puzzles of plot and pace, the intimacies of character – this is where I’m happiest, and how privileged I am to be able to spend my day at the typeface, conjuring up things to believe in. This passion (obsession? endless curiosity?) is both anchor and fuel. So, yes, since York, life has changed. After years of writing alone, it’s amazing to be part of a collaboration with some of the most talented, brilliant people in the world. Good luck to all of you ever coming to the Festival of Writing, and remember, too, so much can happen in the one-on-ones, in the coffee queue, at the bar... the quickening of fate can happen in the most unlikely places. Who knows? The roller coaster may be coming for you, too.

Social media can be viewed as a series of puzzles. When, as a writer, you first start on social media it seems that everyone knows what you don’t. The mysteries of social media are revealed slowly as you browse and experiment and learn. This post will explore some important pieces of the social media puzzle, of relevance whether you’re new to social media or an old hand. What Are The Goals Of Social Media Participation? The first puzzle I’d like to explore is what are reasonable goals for social media participation? The reason this comes first, for me, is because how you answer this will affect every other social media action that you take. If your goal is simply to increase sales of your books, then there will be a series of steps you need to take to build relationships with people who might be interested in reading or them. This would, however, be a very restrictive and stunted use of social media. It would be like installing a telephone in your offices and only using it for sales calls. Every aspect of your work can be impacted positively by social media, if you let it. Research, industry knowledge, motivation and planning can all be helped by social media tools, which allow you to connect with people, listen and communicate. You can also use social media as a creative tool as well as for all the above. It allows you to express whatever you want; your love of Tolkien or photography or Proust or Joyce or whatever. But you can use social media to build relationships too. Real relationships. Is Social Media A Dog Chasing Its Own Tail, A Self-Reinforcing Bubble, Or Is It Something That Will Last? There has been a steady drum beat in the media over the past few years of Luddite criticism of social media. Some commentators claim that it is all a waste of time, that social media is banal and trivial and that it will all pass. My personal view is that social media is here to stay and that it forces cooperation and openness. To be otherwise on social media would lead to being flamed or being shunned. Cooperation and openness lead to increased learning, as we take on board new ideas. I don’t think every Tweet or post is a symbol of progress, but there are enough positive ones, I believe, to make it obvious that social media is of benefit to humanity, overall, as a communication tool. I do think there is a danger of over hyping social media, the way radio was over hyped in the 1920’s, with a large number of radio companies coming to Wall Street to sell shares. But because many of those radio stations went bankrupt it doesn’t mean that radio was a medium set to die. Radio was hugely important in the Second World War and since too. Rock & roll and the popular music revolutions of the ‘60’s and ‘70’s are just some of the things radio enabled. I believe social media will have a similarly important role in the decades to come for writers. We are now able to reach readers without the help of a publisher or a large inheritance. Could Social Media Be An Agent Of Change In Our Culture? Social media could be as much an instrument of change as radio or TV was, influencing politics, popular culture and comedy to name but a few areas. Social media, like radio and TV, is a means of mass communication. And social media is changing fast. Facebook’s shares go down again, then up again, then down again. Google+ changes its look and feel, again. Twitter is used to assess the political mood and the likelihood of a stock market crash. Soon it will be used to predict riots and stock market rallies. The impact on writers, forcing a more open and accessible personal style, is likely to have a long term effect on what writers create and how they create. And we are still at the beginning of this revolution. Try searching for #socialmedia on Twitter and you will be assaulted by wave after wave of developments in social media. Every minute. No! Every second. But where will all this lead us? I see three clear trends, each of which could have an impact on writers: The visual web. Mobile video stream, Microsoft’s HoloLens 3d headset and local YouTube feeds may allow us to travel almost anywhere and experience everything as ultimate-voyeurs. Expect artistic photojournalism, environments that change as we look at them, permanent people tracking, your visual life on a site, celebrity holograms at your local book store and rebranding sites that will let you see how you might appear with a few nicks and tucks when you win that big publishing deal. Screens may surround us and allow us instant access to the thoughts and recommendations of other people, and even to see what they are seeing, to read what they are reading. We may eventually be able to piggy back onto other people’s lives through visceral monitoring, heart, sweat, body chemicals, leading to the manipulation of our own senses, but all that is far off. Whether we get there is another thing, completely. The auto posting trend. Expect your phone to auto post your location to your life-blog and your audio feed to text tweets to Twitter. Going beyond that we may be tracked by location posting sites for curfew enforcement, remote working and spouse spying applications. Auto posts already make up a big percentage of the posts you see. That includes re-posts and posts simply made at a previous time. The question seems to be, not whether you should auto-post an update on what you are reading/researching, but why you think your followers will be interested in learning that? Perhaps we will have training courses and later, degree course in “deciding what to post” and “deciding what to listen to and who to follow”. The digital chasm. The erosion of the middle class will lead to a divide between those of us who are fortunate enough to be able to pursue writing as a career and those who are not. Fortunately, writing well is not something you can easily outsource to the 3rd world. It requires a cultural dexterity, which can take decades to learn. Instant security services, auto-taser fencing and within-a-minute by drone-extraction from urban locations may all be our future. Security zones may extend to elite stores, clubs and hotels, all invisible to the rest of humanity by their anonymous exteriors. How Did We Survive Before Social Media (BSM)? If my memory serves me we did just fine BSM. Sure, we had to wait to hear gossip, and read newspapers or magazines to find out what was happening around us, but we didn’t know what we were missing. The internet was initially about newspapers and selling or buying things and searching and we used it less (it was slow), and BSM we read more and spent more time watching TV, but I don’t think we were any healthier or wiser as a whole. BSM we just didn’t know stuff. I can’t tell you whether it’s that important in the big scheme of things that we have intimate knowledge of each other’s lives, but I believe this social media trend is unstoppable now. It’s a genii that’s out of its bottle. And I don’t know what spell will make it go back in again, but it will have to be a powerful one. The only thing I expect, which could impact our use of social media is disruption to our electricity supply. And that would lead to a lot of deaths in our electric driven world. We will, I believe, be doing social media differently in the future, but I don’t think we are going back to the days BSM. And yes, much of the above may not happen before 2020. So if you want to write about the near future, consider incorporating some of the above elements. In any case it will be your ability to tell a good story that will make or break what you write. Luck still plays an essential role in all successful writing, but you do know what they say about luck; it’s better to make your own. For me these are four of the biggest puzzles about social media. You may have other ones you think are more important. I hope you will consider sharing those with us below. Please share if you have a puzzle. For me this is one of the most intriguing aspects of social media. How it is developing. 3 Key Takeaways Some of the puzzling aspects of social media: Do You Know What Your Goals Are? Are you taking full advantage of the opportunities that social media is providing or are you just using it to help you sell books? Is Social Media Chasing Its Own Tail? Social media has real benefits. This is not just my opinion. Sure, human connections made on social media are not as strong as the connections we have with people in our local area, but you can build useful relationships with people all over the world with social media in a way that was impossible before. Is It An Agent Of Change? Only time will tell whether the changes in our societies as a result of social media are long lasting or if we will eventually turn away from technology. I strongly suspect that technology will develop further and further. It may plateau at some stage and we may need to change how we do things, such as the annual obsolescence of many devices, but software and the internet are changing too fast and more and more people are finding innovative ways to use the web and getting employed in it, so I don’t think this wave of change is over yet.

Guest author and blogger Kate Armstrong shares her story of publishing The Storyteller after a manuscript critique from us. It was 2013. Summer. I was a nervous management consultant who had once, a long time ago, been an English student. I was opening an assessment report on the draft of my first novel. I’d sent it off for a professional reading a fortnight previously. In that fortnight I’d obsessively researched Jessica Ruston, who would be writing the report. The subjects of her books were very different from mine; maybe she wouldn’t get what I was trying to do. But then again, maybe she would read it and be astounded at my debut genius. In my wildest dreams, Jessica would declare this was the best writing since Plath – better even than Plath – and I would be turning away agents dangling golden contracts. In my nightmares, the report would come back dripping with pity and rejection. The reality was of course neither one nor the other. When I summoned my bravery to open the file, I found a thorough, balanced, extremely helpful set of comments. Jessica had understood the novel perfectly well. She pointed out both its strengths and where it was not yet good enough, and mostly I agreed. She found it ‘unusual and thoughtful’, praised the writing, and recommended more work on character and plot. I breathed a sigh of relief, and got to work on the next draft. Fast-forward three years, and that novel, The Storyteller, is being published by Holland House Books. It has, as they say, been a journey. Along the way I’ve learned how to take rejection, and how to accept graciously while keeping my hysteria in check. I’ve learned that an agent response of ‘you write incredibly well’ can be immediately followed by ‘but we don’t think we could place this’. I’ve learned how to do social media more effectively and how to write a blog that is true to who I am. I’ve pitched articles to magazines, and some of them have come off. I feel that I’ve been learning a new trade. Because that of course is what it is; both the writing and the ‘being a writer’. I’m published by a passionate literary independent, but passion does not go hand in hand with a huge marketing budget, so much of the marketing responsibility is mine. That was an eye-opener. The other eye-opener was how fast the book became an object separate from me. Other people had views on how it should be edited, what the cover should be like, how to market it. Cutting the umbilical cord – seeing it as a product in a market – was something I was unprepared for. The Storyteller is a very personal book in many ways. It draws heavily on my experiences of mental ill health and its aim, so far as it has one, is to share those experiences with others. It is also a coming of age novel, and a story of friendship, first love and betrayal. Whatever your definition of ‘literary’, it is certainly in that camp. It is, for my sins, narrated in the second person. (I had written it before I read articles advising against.) It is fuelled by atmosphere and character and not so much by plot. It has unsettled many of its readers. I hope it will continue to do that. But regardless of what it does for its readers, it has already changed my life. That life change is nothing external: I have no idea how it will sell. My dreams are of a prize-winning best-seller, my nightmares that only my mother-in-law will buy a copy. Neither is likely to happen. No, the change has been inside. Before I wrote it I could not share my life long experiences of depression, and I didn’t believe that I could write. When my publisher offered a contract it took me 18 months to accept; I didn’t think the book, or I, was good enough. Once the contract was signed I was too embarrassed to tell anyone, too ashamed of the content, too scared of what exposure as a writer would mean. Over the last year I have moved past all of those blocks. I am definitely now ‘a writer’, and that is where I want to be. I have risked sharing some of the things that go on deep inside. I have welcomed other people into my world. Most of all I have built the psychological platform to keep on writing honestly and openly, and in the way that is most true to who I am.

So, where to start on the road to publishing? I think, and this is only my opinion, that we should start with ‘The Dream’. Set your sights on a dream and run with it. Make sure it’s big enough too, and I mean aim high! Shoot for the stars and even if you miss, the trajectory should carry you somewhere good and the view will have been great. But what do I actually mean? Well when I set out on my writing journey in earnest, I did a number of things: 1. I started acting like I thought an author should act. I started writing a book every year, setting my own deadlines and sticking to them. I sought help from readers and other writers for feedback and I submitted my completed books to agents. 2. I started networking. I went to events, super events like the Festival of Writing where I met more writers, readers and, of course, some agents and publishers too (usually in the bar, long after Cinderella’s ride was being carved into a scary face). I pitched my novel when asked, or when it was polite, but really, I just wanted to be recognised and known as someone who was serious about writing, so that when my next manuscript hit their desk, they knew the face behind the words. But I think the next is the most important one (so important, I split it in two). 3. I started treating getting published as though it were a project. I gathered intelligence on what I’d need to do, who I’d need to submit work to, exactly how they wanted it submitted, what books they liked and had bought or taken on, where the good places were to meet them etc. I created a plan that I thought would offer me the greatest chance of success – then I stuck to it. 4. I decided in my own mind what ‘success’ looked like for me, and defining this can be hard to do. I decided that, for me, success looked like this: a ‘top’ agent from a major British agency and a publishing deal with a ‘Big 5’ publisher. There, I said it! Outrageous, but that was the target I set myself. This was what success would look like in my project, the stars I was going to aim for. Now, let’s not be silly about this. This is a target, the ultimate end goal, but there could be steps along the way. I’m not saying I’d have turned down almost any agent in the beginning, I simply wouldn’t have, and I’m a loyal person so it’s unlikely I would leave an agent I liked and trusted, but this was The Target and I’d urge you all to identify yours and stick with it. If it’s to be a massive self-published success story, then go for that too, whatever your goal is, get at it with vigour and verve and don’t let any set-back, upset, rejection (I’ve had loads of them!), or dismissal put you off. ‘Publishing is broken! They don’t take debuts anymore! I submitted to five agents and got rejections from all of them!’, etc., etc. (Ring any bells?) If you submit your work to five agents and then give up, then you lack the tenacity for this business. I submitted my work through the usual channels – the slush pile – and got well over thirty rejections. (Some weren’t even rejections, they simply didn’t even acknowledge me at all and never have.) I kept going. I wrote six novels. The first four are pants, some not even that good. The fifth started getting noticed. I had some requests for the full manuscript and got some valuable feedback from great agents (and even a hint of an offer of a very small publishing deal with a small press), then I wrote Tenacity and submitted that. It got nowhere. I had easily twenty rejections and had all but given up, even though it was still out with some other agents. I was already writing my next novel, when I got an email from Curtis Brown – the office of Jonny Geller – yup, there are some agents who are so super that you’re allowed to swear in the middle of their name – Jonny ‘Freaking’ Geller called me. Excited doesn’t begin to cover it. Then, in the same day, more agents showed interest, more great ones. Suddenly, I was in business and that aim, that definition of success, didn’t look so outrageous after all. I signed with Jonny, having been picked up from the slush pile, and my debut novel Tenacity was published by Headline on July 30 2015. I also sold very quickly in the US, too. So my message is hopefully clear. Decide what you want to do, set out a plan to do it, and hang on to that plan as though your life, and the lives of everyone you hold dear, depend on it. Grit your teeth, be ready for rejection, but know absolutely where you want to go. If you want it bad enough, then show the world that you have the Tenacity to get it. And I love that word, Tenacity, so much so that I made it the title of my debut novel, and it’s hopefully one of the strongest traits you’d recognise in my lead character, Danielle Lewis. She doesn’t give up, ever, and neither should you.

This week’s entry in the My Path to Publication series belongs to guest author, Sarah Linley. Sarah’s debut novel, The Beach, will be published in 2020 by HarperCollins’ digital publishing division, One More Chapter. Me, Myself And My Book I have wanted to be a writer since I was a little girl, but I didn’t really do anything about it until I reached my early 30s and decided that if I was ever going to get published, then I needed to take it seriously. In 2014, I booked on to the Festival of Writing and entered all the competitions with my first novel. I was incredibly lucky and was shortlisted for Friday Night Live. At this point, I had no idea how big or influential the festival was. I thought I was going to be reading to 20 people in the back room of a pub. That was terrifying enough. I had never read my work out loud before. I arrived to find a huge room, a stage, a microphone and an audience of around 200 writers and literary agents. Cue major stage fright and the conviction that I was going to vomit in front of everyone. I eyed up the exit and considered making a run for it. Fortunately, the other writers were equally nervous, incredibly supportive and I got through OK. People even laughed (which was good – it was a comedy). Joanna Cannon won that year and became a major literary superstar. I had two brilliant one-to-ones. I had requests for full manuscripts. I thought ‘this is easy’. I was so wrong! That book did OK. For a first attempt, I’m surprised that I did get full manuscript requests and helpful feedback but ultimately no agent. Fair enough, I thought, I’ll try again. I switched to crime. I read a lot of crime. I know and love the genre. My favourite books are psychological thrillers and I felt that was the right fit for me. I wrote another book. This time, I knew a bit more about story structure (thanks to Julie Cohen); psychic distance (thanks to Debi Alper) and the four-act structure (thanks to Allie Spencer). Harry Bingham had taught me to challenge my prose and to really care about its quality. I realised I needed to include some setting (which was conspicuously absent in my first book). I went to the next Festival of Writing feeling confident with my first chapter and my synopsis fresh off the printer. In retrospect, I should have waited. It bombed. The feedback from my one-to-ones was completely true, but hard to swallow. There were tears. I got onto the Curtis Brown Creative novel course, which was fantastic, and I learned to accept, welcome and value criticism. I met my amazing critique partner, Phil, and I revised the novel. I went to the Festival of Writing again and the feedback was more positive but still generally ‘meh’. To be honest, I was feeling the same way about book two myself. I gave up on trying to win over the industry. It just wasn’t going to happen. I licked my wounds a little and then decided to write something just for fun. If it didn’t get published, so what? I was just going to write something that I loved and if no-one liked it, then at least I would be proud of it. I wrote my third novel free from expectation but there was something deep inside me whispering ‘this is the one’. I started looking at digital-first publishers who would read manuscripts without an agent and had a faster track to publication. When I got the email from Killer Reads, a digital imprint of HarperCollins, I automatically thought it was another ‘thanks, but no thanks’. I had to read it several times to convince myself that it was a ‘yes’. I had a book deal. I stared at it for a long time, wondering if they had made a big mistake, sent it to the wrong person, but no, it definitely had my name on it. (NB Killer Reads has now amalgamated into One More Chapter). By the time The Beach is published in February 2020, it will have taken the best part of a decade to get a publishing deal. And I still haven’t managed to secure an agent! From Manuscript To Publication I got the book deal in March, just as I was about to embark on my third and final backpacking trip with my husband. The next stage was structural edits which came at the start of June. I was really pleased with the suggestions put forward. I thought they made the book stronger and I felt that my editor really understood what I was trying to achieve with the book. I didn’t have much to do with the title and the cover, but I thought they were both great, and I absolutely loved the blurb. They did a much better job than I could have done! I am now just awaiting the copy edits. I have just the one contact at HarperCollins – my editor Kathryn Cheshire – and everything is done via email. I did get chance to meet her at the Theakston Old Peculier Crime Writing Festival in Harrogate this summer though which was lovely. Surprises It would have been so helpful to have had an agent when I received the publishing contract as I didn’t have a clue what to look out for! Harry Bingham’s Getting Published was invaluable for helping to explain the terms and conditions and I am fortunate that one of my best friends is a lawyer, so she helped me to understand what I was signing. I had read a lot about the industry beforehand, so I haven’t really been surprised by anything so far. I suppose the weird thing about getting a publishing deal is that suddenly people are interested in your writing in a way they weren’t before. You go from writing something quite secretly, perhaps sharing it with some writing friends, to everyone from your boss to your next-door neighbour promising to read it, and that feels very strange! Letting Go I think you have to accept that your novel will never be perfect, so my test for letting go is: if this version was published tomorrow, would I be happy for people to read it? Beta readers are fantastic for letting you know what’s working and what isn’t. Pick people who are going to be honest with you; there’s no point otherwise and listen to their feedback. You don’t have to agree with it, but you should always consider it. Also, deadlines help. Either your own or your publishers. As a former journalist, I am used to working to deadlines and I take pride in always meeting them, so if someone asks me for something by the end of July, it’ll be ready by the end of July! What\'s Next? I am currently working on my second novel. It’s the same genre and style as The Beach, but it’s not a sequel. I am trying to finish a complete first draft by Christmas and I’m really enjoying being back at the start of the process again, creating and developing plot and characters. Also, the research for this new novel is a lot of fun! About Sarah Linley Sarah Linley lives in Yorkshire and works as a Communications Manager for a housing charity. She spent two years backpacking around South-East Asia with her husband. Their travels inspired her debut novel, The Beach. The Beach will be published by One More Chapter in February 2020 (ebook) and May 2020 (paperback). You can follow Sarah on twitter here and keep up with her travelling adventures via her blog, here.