So You Wrote a Book--What About Getting Published?

Get a Book Published? The Road to Publication Might be Getting a Little Rougher

By Dee Power

Is it getting easier or more difficult for an unpublished writer to get their first book commercially published? We asked nearly 60 literary agents about the outlook for the next generation of authors. Their comments are in quotes.

Agents do not envision a great deal of change on the horizon. They are mildly negative about the next 12 to 24 months. When asked the reasons behind their forecast, the most common responses were:

Industry Consolidation, Changes Within the Publishing Industry Itself

Changes in Book Retailing

Publishers are Becoming More Risk Averse

The Pessimists

The Optimists

The Impact of the National Economy


Industry Consolidation, Changes Within the Publishing Industry Itself

“Editors no longer rely on their instincts and passions as selection criteria; instead they go by such formulas as, Bad Numbers, Author has no Platform etc.”

“Continuing consolidation and conglomeration of industry.”

“For non-fiction works, in particular, publishers need credentialed writers, which leaves out the many individuals who have great ideas but nothing to back it up. With fiction, they are more likely to take a chance on an unpublished writer IF it is in an area (genre) they are seeking at the time and the writing is passable enough.

Changes in Book Retailing

“Because of the pressure of the chain buyers, publishers are increasingly locked into publishing only the brand new authors with no record, and best selling authors.”

“Because as long as the retail market continues to consolidate in the hands of fewer and fewer retailers, the entire industry becomes dependent on the taste of a small handful of 'buyers' who choose which books get shelf space.”

Publishers are Becoming More Risk Averse

“It just seems like it's getting harder and harder to get people to take a chance on an unknown.”

“Editors are buying fewer books, they are reluctant to take chances.”

“What does keep projects from being bought is the fact that lists are shrinking, and in a marketplace in which it’s terribly hard to win anyone’s attention – from buyers all the way to customers – everyone up the editorial chain is anxious about making the wrong bet … more often than not, ‘No’ is a safe answer.”

The Pessimists

“I base this on the number of rejection letters publishers have sent for well-written, well-plotted novels by new authors that would have sold if given the chance.”

“I don't see the market picking up much, and if the current trends continue, it will only decline.”

The Optimists

“Because I don't agree that the publishing industry is either for or against unpublished writers. They are FOR unpublished writers who have a brilliant first novel to offer or a nonfiction platform. They are AGAINST unpublished writers who are bad writers or (in the case of nonfiction, are not credentialed in their field, have a new original, high concept idea etc.)”

“The Industry is not a monolithic thing. Some genres (nonfiction especially, which more and more requires the author to have a major platform for promotion and media attention) will continue to become more difficult; some genres (upmarket fiction) exalt first-time writers. The “first novel" for literary fiction represents a unique marketing opportunity for the publisher; it's the second and third novels that tend to be far more difficult to publish well if the first novel doesn't take off.”

“Some trends favor new writers and new voices, however the money is often discouragingly small, so there is not the sense of a career being launched.”

The Impact of the National Economy

"Publishing is an increasingly tough biz in tough times--fewer people read."

So What Can a Debut Author Do?

1) Study the elements of a good query letter.

2) Make your contact letter succinct, positive, but not obnoxious. Stress that you understand the market for your book and how to address that market.

3) Learn what types of manuscripts individual agents are looking for and send yours out to the agents that match up the best with your topic or genre.

4) Don't give up.

Avoid scams and still get your book published. Get our free report Perils and Pitfalls of Publishing for Writers just visit [http://www.brianhillanddeepower.com/freereport.html] Free Report

About The Authors

Brian Hill and Dee Power have written several nonfiction books including The Publishing Primer: A Blueprint for an Author's Success and The Making of a Bestseller: Success Stories From Authors and the Editors, Agents, and Booksellers Behind Them. Read Dee's blog or Brian's blog The Packer Literary Corner

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Online Tips for Offline Writing

Here are a few practical tips for those marketing copywriters among us.

10 Online Writing Concepts That Work Wonders Offline Too
By Suzan St Maur


After all the agonies we suffered some years ago when people tried to make offline text work online, we’ve finally turned the tables. Now we can borrow back a number of online writing concepts and use them to sharpen up our paper-based marketing communications.

Remember how early website text could make you cringe? Squinting at all 2000 solidly crammed words so obviously lifted straight from an equally cringe-making corporate brochure? Peering at that fat, uniformly grey column of garbage scrolling hypnotically up through the browser window?

Well, nearly all of that has gone to the Great Delete Tab in the sky, thanks to people like Jakob Nielsen (and many others) who showed us how to get real and write for the web as it should be done.

What goes around, comes around

Now, though, there’s evidence that Dr Nielsen’s chickens are coming home to roost back in the old offline barn.

First of all, there’s a cosmetic trend for online notions to powder the nose of paper-based communication ... web and email jargon, smiley faces, text abbreviations (U h8 txt 2?) and more are turning up in printed material every day.

More usefully, many of us who write for a living are applying some online writing techniques and approaches to our offline work, too. In fact the very “fashionableness” of all things online has given us the excuse we needed to clear out a lot of the awful old junk that’s been cluttering up some clients’ offline text for years.

Online to offline: key connections

1. It’s essential to have clear objectives. Any piece of online communication that doesn’t have clear-cut objectives comes over as chinless and indecisive. Many printed documents have got away with being chinless and indecisive in the past, but no more – possibly due, in part, to online influences. If they’re going to be taken seriously today, printed comms need clear objectives too – driven by what you want to achieve, not just what you want to say.

2. People often prefer to scan and go back to get detail later. Although online text has championed scanning, people have been scanning offline text like brochure copy since long before the www came to be. Online, to facilitate scanning we break up text with highlighting, bold type and crossheads which enable readers to get the gist of our message in a few seconds. Paper-based messages can be improved dramatically when given the same treatment.

3. People do not always read in a linear fashion. We don’t expect people to view our website pages in any particular sequence. This is not new. For years people have been leafing through brochures starting at the back, skipping to the front, dipping into the middle and back again. Longish offline content benefits greatly from being organized on a non-linear basis to cater equally for the linear readers and the grasshoppers.

4. Not everyone needs or wants the technical stuff. Even with high-tech business, we often put the techie details in their own little cubby-hole on a website, or in a downloadable PDF file. That way they’re there for those who are interested but don’t obscure the main marketing messages. Offline messages gain in the same way, when you box off technical data or append it to the back of a document.

5. Visual clutter confuses readers. In the same way that people loathe website home pages that bristle with shouting headlines and graphics and other grinning gargoyles, they hate cluttered print and press ads that shriek “busy, busy.” If it’s hard to find your message in amongst garish junk, online or offline, they’ll just flip or click over to your competitors’ information.

6. BS is boring. Everyone sees through hype now. The online environment makes it look even sillier than ever. Readers of any marketing communication, online or off, expect your writing to talk directly to them, as one human being speaks to another. If you wouldn’t insult a customer by using boastful, pompous hype face-to-face and online, why do it offline?

7. Complex thinking doesn’t work. Although the long copy often works online, the writing style itself needs to be very economical and uncomplicated. Every word has to earn its keep. Sentences and paragraphs should be short and free from convoluted notions. And that’s an approach that also works wonders to clarify and enliven text for brochures, print newsletters, and other longer marcomms.

8. Lists in the form of long sentences don’t get read. Online, if you have more than two or three items to list you’re advised to create bullets, rather than run them together in a long sentence. If that makes them quicker to absorb online, think what a beneficial effect it can have on lists in offline text...

9. Headlines and crossheads must be relevant, not cutesy-clever. In the online environment these lines often have to stand alone - e.g. as email subject lines – so must be directly relevant. Although abstract headlines are acceptable in some press ads, in longer offline text the headlines are what people latch on to while scanning. This means they also have to be directly relevant, so they’re instantly understood.

10. Cut the c*** and get to the point. Not only do online comms demand uncluttered information, but also relevant information. People haven’t got time to wait 10 minutes while your incredibly creative animation downloads, and equally they haven’t time to figure out the meaning of a literary quote over an arty picture when they’re in a hurry to find out about your diesel generators. In our high-speed business culture, direct is beautiful.

This article first appeared on the US website, MarketingProfs.com


Suzan St Maur is a leading business writer, author, editor and writing coach. Check out her website http://www.SuzanStMaur.com

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The Writer's GMC

The Writer's GMC
By Beth Barany


Know What You Want
You have a dream: to write a book. Congratulations! Now what? How do you go from great idea to great reality? With The Writer's GMC*. Answer the questions below to uncover you writing goals, motivations, and conflicts. You can do it! This next step requires your handy tools of creativity, honesty and perseverance.

G is for Goal
What is your current writing project? What are your long-term writing projects? Describe each one, as applicable, in as much detail as possible, addressing for example, genre, length, and audience.

M is for Motivation
What is your main motivation fueling you? What are your secondary motivations? Peer deeper, and find another reason, if you can. Some write because their day isn't complete with out it; others write to communicate a message or a dream, make a point, or impress others. There is no right answer—only clarity achieved—by knowing why you write.

C is for Conflict
Focus on your perceived obstacles -- both internal and external. Allow any negative or limiting self-talk to be recognized for what it is -- an obstacle to be overcome. No need to judge, just acknowledge. Notice what external factors interrupt the path to your writing time, be it busyness, work and family obligations, or TV watching. Don’t judge, just notice that these obstacles are often there by our own choosing and that by recognizing them we can choose differently. What strengths can you use to achieve your writing goals? Include inner qualities like humor, intelligence, curiosity, drive, and outer benefits such as a space to work, a regular schedule to write, a nice computer, or no pressure to make money at your writing.

Share
Now that you are clearer on your writing goals, motivations, conflicts and strengths, share them with a supportive writing buddy, writers group, teacher or coach. Sharing helps you stay accountable for your goals. A success buddy can cheer you on and validate you. Also, a buddy or writing group, coach or teacher, can ask you "What next?" and encourage you to plan and execute your next step.

Next Step
So what is your next step in your writing project? Do you need to sit down and write? Do you need to create a project time line? Do you need support to review and activate your GMC? None of us achieves a dream without the many people helping us along the way. Welcome to the Writers Community!

* Thanks to Deb Dixon and her book, Goal, Motivation and Conflict, for inspiration for this article.


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Want to Write a Novel? Advice for the Aspiring Novelist

How To Write A Novel
By Donna Grisanti

Before starting the exciting journey of writing a novel, check the true level of your enthusiasm. In an informal survey of writers, the “why are you considering writing a novel” factor strongly affects the success of completing the “how to write” factor. On average, writing a novel is a 2+ year task, which requires a strong positive attitude that you’ll not only start the novel but you’ll also have the drive, passion, and belief in yourself and the project to see that adventure through to completion. Your motivation must be very strong -- always thinking of interesting plots, characters or things you want to write about, as if you can’t help yourself; longing to put everything down on paper or computer screen. Bridging the gap between thinking and writing is as much an artistic adventure as the finished manuscript.

If novel-writing isn’t near the top of your life goals or objectives list, perhaps you need to reconsider the size of your writing project (change to short stories or articles) or investigate honing separate skill sets necessary to novel writing (plot formation, character development, dialogue and setting). Learning novel-writing is a process, so there’s nothing wrong about starting in increments and building small success upon small success. Taking the task in manageable chunks, with your goal of a novel in mind, brings confidence and possible pages ready to be incorporated in the final product -- your novel.

In gaining information about learning the craft of novel-writing, not every author, article or writing class will benefit you, just like everyone doesn’t like every type of food. But they do have the advantage of “getting published,” so accept and discard advice advisedly. You’re still the amateur. Fortunately, the Internet, libraries, bookstores and writing groups are no-cost or low cost sources of gathering useful information which can help, or convince you, of proper technique in your efforts to learn (or get back on the right track) in your writing.

Authors need a clear idea of their story as a foundation for their task. Do you know what you want to write about? What genres do you read or do you have favorite authors? Although you are not limited by your answers nor should you slavishly “mimic” another author’s style, your responses might help you identify or hone your original idea to begin the process.

Before starting, determine the “success” quotient of the idea for your novel. It must interest you, in order for you to spend the time and effort to write well, but, most importantly, it must be able to interest others, in a fresh, entertaining way. Always keep in mind, there’s a lot of competition out there for a reader’s time. The adversaries are the quality and availability of the 24/7 stories in broadcast and cable television and Internet as well as print media. So you have to craft the idea well and carefully; the potential reader of your novel is very busy and very sophisticated. Ask people who aren’t “yes men” for a critical analysis of your idea to ascertain if the idea is clear, manageable and gripping.

Now, the plot plan is next as you try to think of mixing the characters, settings and situations into a pace that will keep your reader entertained and entwined with your characters; wanting to turn the page or not wanting to turn the nightlight out before bed. Like an extension ladder whose rungs allow the worker to climb in incremental steps, the plot and subplots, must, overall, direct the reader in a cogent path to the last sentence.

In real estate where the watchword is location, location, location, the other necessary part inherent the best plot plan is conflict, conflict, conflict; by which the reader is able to see and experience the change in the characters and situations. With so many other books on the shelf or manuscripts begging to published, what attributes set your plot plan above the rest?

With the idea in the forefront, a writer turns attention to time span, setting and characters. The writer has the final say, of course, but for the first effort consider things you already know in your work, pastimes or hobbies because you must be completely knowledgeable in these areas. Research, especially time span and setting, are crucial in determining the accuracy of your writing which cascades into your plot, dialogue and believability of the characters themselves. Be expert without being boring, redundant or preachy. Accuracy in your research flows into the writing, which gains the trust of the reader; proving your words have the same beauty and excitement as watching a professional musician, athlete or actor.

Setting a schedule to gain information on how to write and actively writing are two more critical action steps. Perhaps you can’t write every day but commit to a realistic number of hours per week, if you are not enrolled in a writing class. A “learning” writer is just like anyone trying to become skilled at a profession or craft -- it takes time, effort and sweat.

“Birthing” each page, scene or chapter may be painstaking, but writers have to be willing to be tough on their work, but not too tough. Again, show your work to trusted critics, writing group members or editors, if you can afford them. Give close attention to their critiques and carefully gauge the consistent areas they feel you need work. Polish those, so you can stop problem areas before they become unfortunate habits. Judicious “sculpting” early makes things easier in the long run and impresses editors and publishers as well.

Writing can be anything in-between a lonely landscape of you and a white page getting larger and larger in its blankness or the sheer joy of words flying from your ideas faster than you can get them down. Care, preparation, a clear idea and plot plan can help push things into the latter category. Don’t get discouraged. Good luck.

Copyright © 2007 Donna Grisanti

Donna J. Gristanti is a Tucson, Arizona based fiction writer. Wandering Hearts, her first published novel, was written over a five year period. A former senior nursing administrator, she now divides her time between writing, family, and church.

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