#publishing advice

[writingwithfolklore]

5 Ways to Set Yourself Up For Success as an Aspiring Author

While these things don’t guarantee your manuscript will be picked up or that you’ll sell more books (and aren’t necessary to achieve that!) here are five things that publishing houses look for in authors to help make the book as successful as it can be, and you can start working on now.

1. Get an agent

I can’t say this is true across every publishing house, but in my small publishing house that accepts submissions from both agented and non-agented writers, we move the agented writers to the top of the manuscript pile. This is because they already have a professional in the industry who has vouched for the work.

However!! Important to note that a bad agent can tank your chances as much as a good one can raise them. I had a coworker say about a particular agent, “if I was on the fence about a manuscript and saw (the agent) was representing it, I would move it to the pass pile.” The agent was in general difficult to work with and didn’t actually listen to what her writer wanted, demanding for the house to make poor marketing decisions for the book based on her own personal opinion on what looked good. Oh, and she had also worked in publishing for Penguin Random House for over a decade, so what previous experience they have in the publishing world isn’t all you should consider when reaching out to agents. You want people with lots of experience actually—y’know—agenting.

Check out their previous clients and how many they have! Yes, small agents with only a few years of experience can still be amazing—but make sure you do your research no matter how experienced they seem and see if you can’t do a background check. (The agent mentioned above ended up firing her author! I’m sure the author has tales to tell about her).

2. Come up with marketing ideas

Your publicist is going to do so, so much work for you. Seriously, we have some really awesome publicists who are kicking ass submitting to contests and putting on events and sending authors on tour—but they’re also managing several titles at once, so authors who can pull their own weight a bit when it comes to coming up with marketing ideas for their book are highly appreciated.

If you ever have any ideas on how to reach your specific audience, write them down and try to fill them out with as many details as possible (who is involved, where will it happen, how will it happen, how much funding it requires etc.) and share them with your publicist, the marketing team will thank you for it!

3. Form relationships with the industry!

This one is huge! One thing we actually ask of authors right off the bat is if they know any industry contacts such as booksellers, media contacts, or other professionals/authors. If you can, intern/volunteer/or work for a newspaper, magazine, book store, agency, or anything similar. Having a list of people who know and like you to reach out to for writing articles or otherwise supporting your release is going to help a lot with the promotion and selling of the book! People are much more likely to help out or feature the book of someone they know, rather than a stranger, so start collecting your contacts now.

4. Grow some sort of social media following

Definitely not essential, but seen as a boon for sure if writers already have a community that are likely to support their new release. If you can point to a group of people that already like you or are interested in your work, we’re going to see that as an asset! Especially for book launches—there’s no greater publisher’s fear than a tanking book launch, and it’s so much more likely to go well if you have a community of people you know will show up.

5. Trust your publishing house

You’d be surprised how many authors drag their heels and kick and scream when it comes to the marketing decisions our team makes. While yes, a cover you aren’t necessarily thrilled about, or author bio that sounds a little too self-aggrandizing can suck a bit, know that these decisions are coming from people who have decades of experience in the industry and know how to get your book into the hands of readers. If they think a certain cover, title, subtitle, bio, photo, layout, etc. etc. would be best for your book, trust them. They’re the pros.

I’m happy to answer any other questions you have about the publishing world!

[novlr]

How to create a Copyright for my fiction novel?

For example:

All right reserved. This is a work of fiction...

(I forgot all of it)

In August we wrote a beginners guide to copyright, in which we talk about whether you need it, how to get it if you do, and what information you should include in a copyright page. We've even given you a downloadable template that you can customise to your needs for both fiction, and non-fiction books! Click the link below.

[thewritersalchemist]

Brandon Sanderson did make smart career choices, but they might not be what you think.

(originally posted on a different writing blog in March 2022)

This is NOT another post breaking down “what you can learn!” from Sanderson’s massive Kickstarter earlier this month. Well, it kind of is, but it’s the opposite of some of the others.

Buckle up, it’s unpopular opinion time.

On March 1, 2022, fantasy author Brandon Sanderson announced a Kickstarter: pledge to help him publish four standalone novels he’d secretly written during the pandemic. He and his team set a goal of one million dollars, and he estimated they would get two to four million total.

In three days, the Kickstarter had reached twenty million dollars, and it currently (as of March 27, 2022) sits at thirty-three million dollars.

The publishing world was—and still is—staggered.

In the last three weeks, I’ve seen a dozen indie authors and marketers try to break down that massive success and what lessons others can take from it for their own careers. Most of them write to various Amazon markets. Some of them made good points. One thing everyone keeps repeating is that Sanderson has made “smart career choices.” But every time, I’ve walked away from those articles shaking my head. Most of the articles seem to be missing the biggest and most important point. It's hard to talk about taking lessons from Sanderson’s marketing before you talk about lessons from his WRITING career.

A few facts:

The four novels Sanderson will be publishing with the Kickstarter money are already written. He wrote them for his wife (and because he wanted to explore new stories) during the pandemic.

He will be publishing them through his own company: Dragonsteel Books. He created the company to publish special editions of his books, carry his book swag*, and have an alternative option for people to buy his books if Amazon ever stops selling his books again.**

Sanderson has a reputation for being reliable with his book publishing. If he says he’s going to publish something, he does it, and he tries to keep fans updated as he goes.

*Book swag / book merch = special items created for fans of books. **Years ago, Amazon briefly stopped selling his books because of contract disputes. You can read more about it here.

And some facts about Sanderson himself, if you’re not familiar with his work:

His first book to be published—Elantris—came out in 2005. It was the sixth novel he wrote, and it was published by Tor. It took eighteen months for someone to read the book and then call him about it.

Before Elantris was published, he’d written thirteen novels.

He now has so many novels out that Wikipedia has a separate article for his bibliography.

He was handpicked by Robert Jordan’s wife to finish the Wheel of Time book series, and he was on the writing team for the Wheel of Time TV series.

So what were Sanderson’s “smart career choices” as a writer?

He didn’t write to market. This is going to be the most unpopular opinion of all, but hear me out, please. Sanderson tried it. Back before Elantris was published, after a lot of people told him his books weren’t being accepted because they were too long and didn’t have the popular format and tropes of the time, he tried writing to market. He’s said those were the worst novels of his writing career. So he stopped. He went back to writing what he loved. That love and passion kept him writing books that have resonated with fans for almost twenty years now. If we’re going to talk about why his fanbase loves his BOOKS so much, let's start with how much HE loves what he wrote and how much that love spills over in how he talks about his books.

He constantly pushes himself to improve. He knew from the beginning that he needed critique, and he got it. Since college, he’s been in critique groups and had alpha readers, and they keep pushing him to be better too. He himself says that some of his earlier books (yes, the published ones!) aren’t his best. He’s honest that he keeps wanting to do better and looking to improve.

When he made plans about publishing, he didn’t just think about it like a writer. He thought about it like an author. He figured out his writing pace and he tried to be consistent with that. You can talk for hours about how he finishes books and how that “makes him better than Patrick Rothfuss and George R. R. Martin,”*** but I don’t see many people talk about how Sanderson learned from them and others and FIGURED OUT what he had to do AHEAD OF TIME so he wasn’t doing that to his fans, intentionally or accidentally.

He also approached his published author career like a reader. He treated his fans like he would have wanted to be treated as a reader. He used social media to connect with them and to keep them posted. He was and still is actively involved in his fandom.

He’s given back to the community. He’s taught at university for years; he’s talked at conferences; he’s free with his advice on his writing podcast; he’s given fans advice for years at cons and book signings and through his website, and he always has a smile for his fans.

***I’m not going to discuss Rothfuss’s or Martin’s choices; I don’t know what’s going on in their lives, and I think there’s a difference between authors having a responsibility to finish a series and authors ‘owing’ fans the way their particular fans claim. This is only about Sanderson and his decisions.

THESE were his smart career choices. THESE are the reasons his books are so popular and why his Kickstarter got to twenty million in three days. Sure, finishing Wheel of Time helped get his name out there to some readers, but the majority of Sanderson’s fans don’t talk about Wheel of Time like they talk about his own books. Wheel of Time fans (some of them) talk about being grateful he finished the series, yes. But Sanderson fans talk more about Elantris, Mistborn, and the Stormlight Archive.

If we’re going to break down Sanderson’s success, we have to go back further than his marketing. We have to look at his foundation and be honest about why and how he is where he is.

If you write to market, three things sell your books:

your ads

your other marketing (but mostly your ads)

and how well you followed the recipe for that market

Whether your plot and characters are objectively well written doesn’t matter as much. (I'm not saying it doesn't matter at all.) Why? Because the recipe is what the ads sell. So if you’re good at following the recipe, readers will keep coming back after their first few from you. Not so much if you like to change recipes a lot or can’t follow one well. You might get other readers, but you won't get that particular market's readers.

I’m not dissing writing to market. If you DO mostly write to market, you won’t be able to take many lessons from Sanderson’s Kickstarter success (or his career in general) because Sanderson’s marketing isn’t what keeps his fiction selling. His writing is. His fan interaction is another huge part.

A note on consistency.

Sanderson is a prolific writer. He can sustain a publishing pace that many people can’t. I can’t, for sure. I would LOVE to be that prolific, but I’m not there, at least not right now. Being consistent doesn’t mean you have to publish every year or write every single day. It means finding what pace works for you and then being consistent with that. If that means publishing once a year, good for you. If it means once every three years, go for it.

Building a fanbase takes time. Sanderson has been publishing for almost twenty years, if you count how long the process took for Elantris. He’s been writing for twenty-five years. No one likes to hear that something they want right now takes time, but it’s the truth. Building a consistent fanbase takes time, and it does tend to take more time for indie authors than traditionally published ones.

I've worked with a lot of competitive write-to-market indie authors. I know exactly how unpopular this opinion is. But for all the authors wanting to really understand the writing craft and find the path that helps them build their own consistent career of putting out good stories, this post is for you. If you're asking “Why is Sanderson so popular that his Kickstarter reached twenty million in three days?” and wanting to know what you can learn from it . . .

This is why. And this is what you can learn.

[saintmachina]

Listen, you're going to lift your blorbos (archetypes) and your brainrot (motifs and tropes) from fandom and wedge them into your WIP whether you like it or not. It's just going to happen.

The trick is marinating and workshopping those lifted elements until only you can see the seams. Teasing out what exactly compels you about them and then engaging in deep conversation with those elements.

Nothing new under the sun! All art is imitation! Every story has its origin point in another story! And that's fine, actually.

But a great writer knows how to imitate intentionally and with discretion and restraint, all while overlaying their own unique perspective and gifts.

[clairelsonao3]

Any Writers tried BookTok?

As some of you know, at some point in the New Year, I plan to self-publish a romance ebook. Over the next few months, I hope to start putting some more infrastructure in place to promote it for when the time comes to send out arcs, etc. I already have friends and supporters on Tumblr and A03, which is a great start. But of course, everyone says BookTok is the place to be, especially for romance writers. But I'm hesitating for a few reasons, which are:

Will I get canceled? To make a long story short, the book deals with topics that are not only dark but could be seen as controversial -- and are liable to be attacked by people who don't care that the book is the exact opposite of what they think it is and simply like canceling things based on certain phrases in titles, blurbs or loglines. Tumblr and Ao3, with a few unfortunate exceptions, have been mostly, blissfully free of these people, but BookTok strikes me as someplace that might have a lot of them. Idk, maybe I'm wrong. And if someone does try to cancel me, will I be able to handle it by simply refusing to engage?

I don't want to and can't really show my face for mostly professional reasons. (I like my face just fine, just not for TikTok!) I can use my own voice and, like, my hands or, something, but face is a no-go. Will I be severely hurting my chances of getting any eyeballs on my posts?

Is the culture toxic or likely to harm my mental health? No amount of promotion is worth something that's going to traumatize or hurt me (see above about cancellation). And if my work and/or my characters are hurt, I'm hurt. I've encountered toxicity on social media before and have largely stepped away from it, with Tumblr being the main exception because the community here is so wonderful.

Will it be too much of a time commitment? I know they suggest posting once a day, which seems like a lot, especially if it involves creating and editing original posts. And really anything that's going to take more than, say, 20 minutes out of my day (unless of course I really enjoy it, like I do Tumblr) is too much of a time commitment, in my opinion.

So, that said, I would love to hear from anyone who has experience with BookTok, especially writers of romance and ESPECIALLY writers of "dark," edgy, and/or controversial romance. Should I just try it for, say, a few weeks and see how I like it? (I have never used TikTok before, ever, so it would mostly just be getting a feel for it). Is that even possible?

Thank you for any opinions, anecdotes, or nuggets of wisdom anyone can offer!

[balrogballs]

Have you been working all the time when writing? I was thinking a book advance is like a salary you get paid, but is it not really that much to make a living? Does it vary between genre or is it a standard price? Btw, your job sounds so awesome too

I'm apologizing again for all the questions, and love u for answering them all, I'm an aspiring novelist and nobody I know in real life knows I want to write for a living. I'm very grateful for your lists last week as well.

No problem, happy to help!

Keeping the answer under the cut though, since IDK if ppl who followed balrogballs for elrond reasons want to hear balrogballs go on about the publishing industry LMAO

Working/Writing:

I have indeed worked throughout my writing career, though for most of the first book writing time I was finishing my PhD. Most authors work on the side, unless you reach absolutely top level and can coast off royalties and speaker fees etc.

Eg. I was at an event where Rushdie gave the keynote, and overheard his rate for the evening was around 55K USD. The vast majority of writers will never pull those figures — the highest I've ever been paid to do a talk was £1.5k, and that was a one off and probably won't happen again.

Put it this way, I know a Booker winner and a Nobel winner personally, both wins in the last 5 years, and both worked part time as university professors till the win. Living off writing is very difficult in the traditional publishing sense unless you hit a certain level of success.

And thank you for your nice words about my job — I do enjoy it and it's very fulfilling, and means I have a ton of free time when I'm not posted overseas so I have ample time to write (and can fuck about on here lol).

Advance

Take anything I say here with a pinch of salt, as this varies tremendously due to a ton of different factors including genre, publisher, location, market etc.

The advance isn't paid like a salary, it's paid in chunks. For me, I had it in 4 lots across around 2 years. So that method of payment means it's not feasible to use as salary.

Keep in mind, you're not paid while you write your second book — only once it sells will you get the second advance, so again, the 'gaps' need to be covered. I took around a year to write the second one and sent the draft manuscript in June to my agent for edits, and it'll only go to the publishers early next year. So thats a lot of time w/o steady income.

How much it is can vary immensely — mine was around double my general salary. I got very lucky in that the book went to auction and my agent is an outstanding negotiator, so the bidding contributed to the final sum. But yes, it varies based on a ton of different factors.

You don't get the full amount btw, it's taxable income + the agency will take a cut. High advances are also a double edged sword, however - you need to "earn them out" before you get any royalties. For instance, I had a great signing advance, but this means there's no chance I ever see any royalties.

So again, that means no income at all when writing the second thing.

It's not an issue in litfic since literally nobody earns out unless you get one of the biggest prizes, though am not sure about other genres. But yes, big advance = much longer wait for royalties, and royalties themselves aren't normally very much either, so keep that in mind when thinking of salaries etc.

Social Profile

I'll answer your other question re: whether social media and public profile is beneficial for a writer here just to not clog ppls feeds. Prior to querying, only if you're writing a non fiction book will your social following actually matter, as you are very much part of the "package deal".

In fiction, it matters much less. Cassandra Claire trajectories are very rare, and whilst Booktoker book deals have happened, again they have VERY large followings to the point that they are part of the product itself.

Whether it's important after publishing, I'm not sure. My agent says no, but equally, others say yes.

Some authors are very active on SM, but equally many others I know are like me in that they have an anon profile somewhere but nothing identifiable. Eg. w. me, I don't have any socials other than this and won't be getting any — a publicist handles the official accounts so I can be unhinged here in peace and not worry about accidentally tweeting about balrog testicle LMAOOO 🙏

Hope this has helped ✨

[at-thezenith]

acquiring a manuscript - the agent and editor

hello, it's me, your favourite publishing student. let's talk acquisition.

so you've managed to secure an agent with your manuscript. then what?

most agents will do a developmental edit on first deciding to work with you. plot, character, pace, continuity and worldbuilding all come under this. what makes a good agent (and editor) is whether they are offering you suggestions on what to do instead of outright rewriting your work.

once you've made those changes (or gone back and forth depending on how much you do or don't want to make that change), your agent will send your manuscript to editors in publishing houses.

a key question on their mind is: can i sell this book? agents (and editors, but i'm getting to that) look at a book's merit, and they look at what they can compare it to. you need some sort of USP (unique selling point)

is it pride and prejudice but trans? most ardently by gabe cole novoa. is it black mirror in south east asia? red dust , white snow by pan huiting. (highly rec both, btw)

key note here - if you are submitting to a publishing house that accepts unsolicited manuscripts, you will skip straight to this next step.

your manuscript will land on an editor's desk, along with the pitch your agent has given them, usually tailored to that editor's or that house's tastes. in a big house, that editor will usually pass that manuscript to an assistant, to do a reader's report, in which the assistant will sum up the plot, point out strengths and weaknesses, and most importantly, tell them whether it is worth publishing. some manuscripts don't make it past this step, and in that case, the agent will send it to another house.

if the editor likes the sound of this manuscript, they will then read it. usually, they will read it three times: one for first glance edits, two for developmental edits, and three for line edits (line by line, spelling/grammar, vocabulary, etc). once this is done, they will tell the agent that they plan to put their house in the running for acquisition. then comes the acquisition meeting.

the acquisition meeting is where your editor will fight to get the publishing house on board with your book. remember that USP? here's where that comes into play. your editor needs, above all else, to get sales and marketing on board. how can i sell this book? editors often ask other members of the meeting to read the book beforehand to have some support, and to point to the book's readability.

the literary qualities of the book certainly come into play, but what sales and marketing want to hear is how your book is both familiar and new. so your editor will construct a pitch that both highlights the excitement of your book, but also point to previous successes with books like yours. i know that comparing books to other books is tedious, but sales are notoriously pessimistic. they control the money, after all.

but your book makes it through the meeting, and you have the whole team on board. now comes the editorial letter. this is where the editor is going to do their best to sweet talk you (and your agent) into accepting their offer of publishing your book. however, they will both gush about your work, and tell you the edits they want you to make to it, from the big developmental changes all the way down to the way a character moves in a scene. don't be discouraged if the list of changes is long; if the editor didn't want to publish the book, it wouldn't have made it past their assistant.

this of course is assuming you decide to accept their offer immediately. you could have offers from other houses, and in that case you usually won't receive the editorial letter - or at least, not in such great depth - until you have signed a contract with the house of your choice. that is more complicated.

hope you found this useful! my dms are open if anyone has any questions :)

[veronicaleighauthor]

[authorlaurawinter]

I'm getting close to publishing the first book in my Nora & Sebastian series. All the "expert advice" says I should make a facebook page. Is it really worth it to do that when I don't have any kind of fanbase?

A Facebook page for the author name is actually a good idea. Even if you don’t use it, claiming it is great so no one else does or tries to play it off as being you. Also, having that for connection to other meta platforms can be useful for scheduling content. It can also be useful to use that page to join groups and such where you can promote your book and interact with others to get people curious.

I have an author page simply to claim it and cross post, but I do not actively use it except for big announcements. My genre (romantasy) tends to hang out on Bookstagram.

As for a series page, I don’t think it’s necessary. It’s just one more thing you have to pay attention to.

[tlbodine]

Some thoughts and musings on my first vendor table at a convention.

[filmcourage]

I've Written 7 Books... Here's Why I've Never Self Published - Chip Jacobs

Watch the video interview on Youtube here.

[crow-caller]

Hey! I saw that you published some books (looking forward to checking them out, actually), but I was wondering how you did that? I'm not out of high school yet, but I've already finished my first draft of book one of my series, and have been working on editing and fixing up the second draft. I do have an editor, which is nice. I was wondering how you published? Any advice/ info would be greatly appreciated!

Hey, cool! My first book legit came out when I was still in high school.

I'm an indie author, so I'll talk about indie stuff... and traditional... and oh dear that's a lot.

Let's go over some pros and cons and what to expect.

Crow's (oops not) Quick Guide to Publishin'

Self Publishing:

This is what I did for Good Angel, Bad End, my duology!

Self pubbing:

+Total control of end product +No deadlines +Full control of changing it at any time -You do all the work (or pay) -It costs you money for jobs you can't (or shouldn't) do yourself like editing -Extremely limited reach of audience, very hard to sell

I queried GA/BE around a bit but ultimately decided to self publish it. It's just too niche for mainstream, being a weird genre mix up with way too queer characters. Multiple neopronouns used by funky angels in magic school slice of life that turns apocalyptic? yeah, I felt it'd be best I just put it out.

You'll need to

Edit the text (I'd recc multiple friends, a paid editor)

Proofread the text (I'd recc paying a pro)

Assemble the text files formatting (for digital, print)

Get a cover

Make pages for it on GoodReads etc and promote it

Self-publishing can be a lot of work. I did GA/BE's interiors myself using first Microsoft word, then adobe indesign for the recent revamp. Using Word/other text programs can give you a fully workable interior file, but abusing the free trial system of adobe will allow more advanced inclusions. Getting ebook files to work is a nightmare, and print can also be a pain- it's a lot of following online tutorials and trial and error I found. Calibre then is the program you use to finish digital files for release.

Costs for editing can be very high. Editing is a high skill, high time job- I got my books done on discount from a friend for next to nothing, but expect definitely a few hundred bucks. Research though fair prices. You don't need to hire someone to proofread or edit, but it is a good idea. That or outsource to many friends, ideally ones who give honest feedback. A proofreader is much cheaper as they only look for errors, I again got it cheap for 65£ per book. Art wise, I bought mine on commission- talk to an artist and make it clear it is for a commercial project and that you have the right to sell the end result. My cover for each book was about 100£

You might notice this is adding up to a few hundred quid, and yes: it cost me like, 350£ or so per book to publish, even with myself doing a lot of the work. This is a lot! Does it pay back? Usually no. I have at this point now "made a profit", but it took years. You can't typically go into self publishing looking for profit.

I really enjoy self publishing GA. It meant I could put a project out that I kinda only made for me, and have full rights to do whatever I want with it. I got to design the cover and choose what to do at every step... but it was a crazy amount of intensive work too. Marketing wise I've found is about impossible- your best bet 100% is to send the book to as many people as possible (digitally) for review and just try to get enough people reading it. Then you hope they like it and talk about it. I've found no other method of marketing particularly useful: word of mouth is still king.

Indie Publishing:

Indie pubbin:

+Don't have to spend any money (get paid) +Professional editing/cover/formatting +Backing of publishing house's marketing team -Deadlines -Less creative control -Contracted -Must query and be accepted

My first book was Angel Radio, which actually I sold when I was 17. came out when I was 18. The timescale for traditional publishing, even indie, is typically at least a year.

There's a lot of indie publishers out there, and we should read them more often. However, being published by an indie publisher (aka, a small, non-mainstream one- unlikely to ever be 'on shelves') takes extra, different work.

Do your research!!! There's a LOT of scam publishers out there. A publisher will never, ever, not even slightly ever, charge you money or pressure you to spend money (like buying your own copies of the book). A great way to check is to just look up 'publisher name + scam'.

Prepare a query letter. This is a pitch for your book, basic book info, and a bit about you. Every publishing house will have a 'submissions' page which explains specific wants (such as several pages of your book or a synopsis), so every application is slightly custom.

Query and wait. It takes many weeks to hear back with queries. Usually you should do them in small batches of like five. It's very rare to get a deal- it may not be your book, it might just be market trends or they already got a book about dragons on order.

DOUBLE CHECK YOUR CONTRACT. Contracts can be hard, so seek help if you want, though I've found my one contract to be not that long and readable. Still, you should always read a contract, especially as a scam publisher might try to trick you there.

Indie publishing is good because... it's more accessible and diverse than mainstream, but still offers the same benefits to authors. Just on a way smaller scale. I don't think my publisher, Harmony Ink Press, did much jack or shit for me marketing wise, and that's pretty typical. Marketing is very hit or miss and very expensive, so the onus is still on you to market (spoilers, these days marketing is on you no matter what). You also have more leeway in edits and covers- I designed AR's rough cover and worked with the artist directly! That's uncommon.

Most indie publishers also have a common royalty scheme where you pay it back. This isn't a hallmark of a scam, it's pretty normal: You get advance cash upfront, but then do not earn royalties until your book has paid itself off. Which it may not. Angel Radio sold for 500$, not a huge amount but not exactly tiny, especially for a teen. But I haven't earned a penny on royalties because it never sold well enough! I think I'm a little over halfway there.

Traditional Publishing

(I don't have a book of this type. yet...?)

Y'know, like, books?

+Large advance +Big support team +Marketing +Books on shelves +Most lucrative and recognizable -Sharper deadlines -Least control and rights -Must query (hardcore mode) -Still marketing yourself

Traditional publishing is the longest timescale and hardest method. Obvs. You again are looking to write a good query, but now you need to go through a literary agent. You query an agent with your book (again, should only ever be free), the agent then essentially queries publishers on your behalf ("out on submission"). An agent is your liaison to the business of publishing, taking a portion of your earnings for the service. You just can't make it into publishing without an agent.

A query letter ideally is... roughly, quickly, this is my format guide.

Hi there [actual agent name]

I'm here proposing my cool book, XYZ of ABC, a GENRE book of ??k words that IS SOMETHING UNIQUE SELLING POINT. MAIN CHARACTER is LIKE THIS but faced CONFLICT when PLOT HAPPENS, in SOME KINDA WORLD OR WHATEVER. THIS IS THE PART WHERE YOU WRITE A 2-3 SENTENCE PLOT BLURB. But when TWIST happens, will MC have SOME EYECATCHING IDEA? This book will appeal to fans of THIS KINDA THING and is extra good because RELEVENT DETAIL LIKE OWNVOICES. I believe JUST KEEP SELLING KID. I myself SOME SORT OF ACCOMPLISHMENT LIKE UNI, PAIRED WITH A RELEVANT HOBBY. thank you for your time

Hot and dirty, something like that. You gotta recall at all times this is a market. It is economic. Your passion... matters, but uh. It doesn't matter. Gosh that sounds rough. But make your passion clear but your sound business proposal clearer: You need to show why your book is worth picking over thousands of other queries.

Querying is a horrible torturous process that does help you slowly build up exposure therapy to rejection and failure. Anyways, that will take a bit typically (I've been querying on and off for ten years for an agent, but a lot has been 'off' time). Then you wait and eventually, bam! Probably post some edits, your book is sold.

You still wait a long time though, and have a lot of work to do. So much work. Your book will come out on shelves at the end, sure, but that's still not a promise of success. The author these days is especially the product, and while you start on a higher stage (maybe even the marketing team will f---ing do something), you still gotta claw. There's a high level of scrutiny too on debut authors on any tier, but especially the traditional publishing tier. So your success is very dependent on each book you do, with it being harder and harder to sell books if you aren't doing fantastic.

Still, it's hard to deny the appeal of that mainstream success. Man, I'm chasing it myself! But it's not just easy book out there you go. I'm pals with traditionally published authors and you'll still be very busy, if you can get your foot on the ladder with an agent to begin with. Being on submission generally takes months, and even when your book is with a publisher it may be a lot of time and work before it ever comes out. Even then, hitting the shelves still doesn't mean you're set for life.

Still. Good luck. Go try!

(BTW look at my books, I guess, as a sticker on what I hope is good advice, and good luck! I first decided to try publishing Angel Radio with HIP because of a post by someone else published by them on tumblr... like 10 years ago now....)

Gum ebook

Amaz print

Goodreads)

[wrongpublishing]

Increase Your Literary Body Count in 2024

by Mathew Gostelow.

"In my slut era," I whispered, sending the story out on its ninth simultaneous submission.

At the most recent count, I wrote 60-odd things in 2024 and submitted them a total of 202 times in all. 42 of them were published in some form. Along the way, I racked up 90 rejections. All in all, I published somewhere around 44,000 words in 2023.

I was whoring my stories all over, like some sort of village bike made of ink and shamelessness. I spent a year subbing sluttily. I had a blast doing it too. I got a fair few publications under my belt, made new friends, and learned some lessons as well. Here’s just a few of them…  

Change horses midstream

I’ve discovered I work best when I’m juggling multiple projects at once. It sounds counter-intuitive and I guess it might not work for everyone, but I reckon everyone should try it.

The idea is to have several stories on the go at one time. Three feels ideal. I find that I will inevitably run out of steam on a piece – my interest or focus always flags at some point. Switching to something new acts as a vital palate-cleanser. I’m able to return to each project afresh, bringing new energy and perspective thanks to the time I spent away.

Follow the fun 

Don't be afraid to mix it up. Move out of your comfort zone.

If your latest flash isn’t quite working, why not rewrite it as a poem? Or mash it together with another half-finished piece and see what happens. In a longer piece, it’s okay to jump straight to the scene that's exciting you in that moment. Fill in the gaps and the preamble later.

Try things out. Write flash, write microfiction, write a poem. Seen a shiny prompt? Go for it. Plunge into a genre that you'd normally avoid. You might have fun, you might learn something. You might even end up with a story worth submitting.

Lean into your weird

I'm not saying you're weird, but… you’re totally weird. The way you tell stories is uniquely yours. You understand the world through the filter of your own personal experiences. And you express those observations in wonderfully idiosyncratic ways. 

One thing this prolific year taught me is that I love my writing more when I delve into those quirky parts of me. It could be sharing an oddly-specific fear in a horror story, or playing with words in a way that feels pleasing and musical to me.

Putting those unusual parts of yourself out into the world can be scary, but it's also fun. And I've found that readers and editors seem to respond to it as well.

Sim-subbing is addictive - but tread carefully

Simultaneous submissions are great. Is that one mag taking a bit long to decide on whether they want you piece? Send it somewhere else. Feel those sweet endorphins coursing through your veins. Oh yeah. That’s the stuff.

Here’s what I learned from a year of very heavy simultaneous submissions: Send a piece out to as many places as you like – but only if you're equally happy with ever possible outcome. That’s the important bit.

If you have your heart set on a specific home for a story then for gawd’s sakes don't sub it anywhere else until they have decided. Otherwise you risk tying yourself in knots if/when one of the lesser mags accepts it before your dream publisher has decided.

Play fast and loose!

Themed calls are great. They can be inspiring, sparking fresh ideas in our minds. Or help us to see our existing stories in a new light. But here’s what I learned this year: don’t be afraid to come at the theme from an obtuse angle.

Editors must get tired of reading 50 different permutations of the same story. Your off-kilter take could be just the breath of fresh air they're looking for.

And if you have a story already written when a call comes along and it feels like it's close-ish to what they're looking for, then you should throw it in the mix. What have you got to lose?

A true story from this year:

I had a story accepted after misunderstanding what a themed call was all about. I didn’t read the instructions carefully enough and subbed the wrong thing. I realised immediately after pulling the trigger and considered withdrawing my piece. For some reason, though, I didn't. (Slut era!) The editors saw something in my story and accepted the piece.

Moral: Don’t slavishly follow the theme. Go crazy.

Dilute the sting

Rejections can hurt, especially if you have your sights set on a specific magazine or anthology. But you know what helps? Rebound sex. Er… I mean, rebound submissions. Get that same piece back out there. Heck, send it to two places. Go crazy. You get closure by moving on. Also, the more you submit, the more rejection notches you get on your bedpost. And you know what, after a while you’ll find it starts to sting a lot less. 

So there you go. Lessons from a promiscuous wordmonger. Why not try to up your literary body count in 2024? You might like it. Repeat after me: “Slut era”.

Mathew Gostelow (he/him) is the author of two collections; See My Breath Dance Ghostly, a book of speculative short stories (Alien Buddha Press) and Connections, a flash fiction chapbook (Naked Cat Publishing). He has been nominated for the Pushcart Prize, Best of the Net, and Best Microfiction. @MatGost

[saintmachina]

curious to know your thoughts on writing fanfic while being a professional writer? would you recommend doing so or is that just legal trouble waiting to happen?

Hey anon! What a wonderful Q! Let's get into it, with the caveat that this is just one author's opinion. However, I have worked as an agent, author, and audiobook acquisitions girlie, so I have a bit of perspective!

Listen, fic is every artist's God-given right. We should all be allowed to play in the creative sandbox with the blorbos that capture our hearts and the motifs that haunt our dreams. Many published authors, traditional and indie, still write fic from time to time. I certainly do!

One of my favorite ways to decompress between projects is to write my beloved Rhaenyra/Alicent doomed dragon lesbians fic, or to whip up a one-shot about whatever media I've been consuming lately. Sometimes I'll challenge myself to do a little drabble about whatever book I just finished reading, just to keep myself in conversation with the themes and to try out new styles or POVs. It's fun, it's challenging, it's a social activity, and it makes you a better writer! No lose situation.

The real question here is whether you share your fic handle with the general public. Most authors don't, although some, like the inimitable astolat (AKA Naomi Novik, co-founder of A03!) do. For many of us, we keep our handles private not out of shame, but so we have a place to play and experiment as a lover of fiction and member of a fandom, not as a Professional putting forward additions to their Body of Work. Also, fic is where you are allowed to get weird with it. If I want to write a ~problematic~ ship or explore a strange storyline in fic, I can do that without it reflecting on my oeuvre as a public figure, and that's nice!

Legal trouble comes into play when you read fic about your own published work. I am aware that there is A DOWRY OF BLOOD fanfiction published to A03, which delights me to no end. However, I don't read it because a.) it's not my business and fans deserve a space to play without me reading over their shoulder and b.) if I were to write a sequel with the same characters (nothing planned like that, don't get excited my beloved bats) and I lifted a fic writer's storyline, that would obviously be nasty and bad, and I could get sued. So, as a blanket rule, I don't read fic featuring my characters.

Hopefully that answered your question! Happy to go more in depth but the tl;dr is: fic away! Just be a good internet citizen and resist the urge to read fic about your own characters, if you are ever so fortunate to be in that position.

[totallyboatless]

I saw a tweet screenshot about how authors shouldn't have to be influencers to get published, and I almost reblogged but I don't want to be That Person on someone else's post.

And listen, I get what's being said - but I've worked in some version of marketing/PR within traditional publishing for over six years, and it's *so much more complicated than this take* in a way that makes me actually a little irritated. The short version is: we need to dissect the word "influencer" because it's come to mean a lot of very, very different things.

So plug: I have a newsletter with my best friend (who works in editorial) to try and help give some advice to aspiring authors. It goes out every two weeks and alternates between writing/editorial and marketing advice. I'm going to write about this topic for sure. I'm revved up enough that I kind of want to change the topic I have planned for next week lol