new posts in all blogs
Viewing: Blog Posts Tagged with: U.K., Most Recent at Top [Help]
Results 1 - 25 of 38
How to use this Page
You are viewing the most recent posts tagged with the words: U.K. in the JacketFlap blog reader. What is a tag? Think of a tag as a keyword or category label. Tags can both help you find posts on JacketFlap.com as well as provide an easy way for you to "remember" and classify posts for later recall. Try adding a tag yourself by clicking "Add a tag" below a post's header. Scroll down through the list of Recent Posts in the left column and click on a post title that sounds interesting. You can view all posts from a specific blog by clicking the Blog name in the right column, or you can click a 'More Posts from this Blog' link in any individual post.
I need some insider info. My (wonderful) agent hasn't really given me any details about the situation so I hope you might be able to.
Last year we went on submission. We came close once with a revise and resubmit but ultimately the editor didn't make an offer. One of the editors from the first round was very slow and when my agent called to follow up, he told her I was doing an R&R. The editor asked to see the revision.
A few weeks after she got the ms, she called me and asked for some changes. They were very minor and I ended the call feeling very good about her and the work she wanted me to do. So we sent the newly revised ms back to her and then we got a note a few weeks later that she loves it. Another note a few days later said she finished it and was sending it to her editorial director.
My question is: what does this mean? Do editors usually send it to their editorial directors before they can make an offer? Is she sending it to the editorial director because she has doubts about it or because she's excited about it? How does a decision about an offer actually get made?
This is fabulous news. There's nothing else to say. Nearly everyone at a publishing house needs to get what are often called "second reads" before even considering an offer. These second reads mean they go to their colleagues to get their opinion. Unlike most agencies, no decision is made at a publishing house without the consensus of a number of people. Who these people are will depend on the house, the genre, the editor, the book, etc. Often an editor will bring the book up at what's called an editorial meeting to get the opinion of a number of editors. In this case she presents the book one week, often using your agent's pitch letter as her guide, and listens to the feedback of others at next week's meeting. Sometimes the decision makers include not just editors, but the marketing and sales team as well, and sometimes the only second read you'll need is from the head of the genre's department or the editorial director, or maybe just the editor's immediate boss.
In this case it sounds like she's hoping to get the go-ahead from the editorial director to make the offer. If the editorial director agrees that it's something they would like to add to their list, they'll discuss where the book would fit on the list and what kind of offer they will be making.
Congratulations and good luck. This is exciting news.
By the way, it sounds like you have a great agent, someone who's really active and involved, so don't be afraid to ask her these questions. That's just part of what you pay her for.
Jessica
"Jsfrog" left me this note:
If you get an agent, how do you decide what form of publishing to pursue? Do agents typically have a list of preferred houses to pitch to or do they take input from the author? And if you are lucky enough to get a few offers, how do you decide which one to take if there is a difference of opinion somewhere? Like if one prefers the intimacy of a smaller house, but the other is just looking at the financial bottom line? I am an independent introvert so while I would like the validation before publishing, I worry about being overwhelmed by the process. That is one reason I might consider self-publishing or by-passing a few of the steps with a smaller house that still has open submissions. My answer:When an agent offers representation, most likely they already have some ideas about what type of publisher would be appropriate. You and your agent would discuss this, and if you have some input to offer, you should speak up. I often ask my clients, “Who is your dream publisher?” and then we have a place to start the discussion, regardless of whether I think their dream is realistic.
If there are multiple publisher offers, usually you go with the publisher offering the best deal, because the agent wouldn’t have submitted the project to a house you didn’t want to publish with. But there may be other considerations, and by this point your agent should already be clear on your priorities so she’ll be able to guide you in making a choice.
You mentioned “the intimacy of a smaller house” vs. “the financial bottom line,” which is an interesting way to look at publishing. A smaller house may or may not feel more “intimate.” A larger house may or may not be a better deal financially. They’re not mutually exclusive or automatic opposites.
Keep in mind the agent’s job is always to get you the best deal possible. This means financially the best deal, as well as a good strong contract where your long-term interests are protected. They also want to put you with a publisher that gives you the best chance of being a success—a company who knows how to sell the kind of book you’ve written, and with an editor who “gets” your book. There are a lot of things that make a publisher right for you (or wrong for you).
Don’t make too much of the fact that you're an introvert. While your fears are valid, many writers are introverts, and somehow they manage to make it work. I’d say: feel the fear and do it anyway.
Also, regarding your last two sentences (the fact that you might consider self-publishing). I think you may have a skewed view of the requirements of self-publishing, vs. small indie publishing or traditional big publishing. If you’re afraid of being overwhelmed by the process, it’s not going to be any less with self or small publishing, unless you want to put your book out there and sell zero copies – then, sure, you won’t be overwhelmed because you won’t have to do anything. The truth is, you are far more likely to be overwhelmed by self-publishing; and no matter which way you decide to go, you have to face one fact:
If you want to put your words out there for people to read, it’s going to feel risky, it’s going to feel vulnerable, and it’s going to require you to step out of your comfort zone.Don’t be afraid of that. It’s how we grow, right?
Q4U:
I have a few clients who are very prolific. As soon as they’ve finished a manuscript (including getting outside feedback and going through a few rounds of revisions) they’re always excited to move on to another. They immediately brainstorm a new story and get going on it. They can write two or more terrific manuscripts in a year.
For some authors, especially if they’re already established, this works out great because they’re able to contract those books as fast as they can write them. But for other authors, not so much.
The problem comes with a writer who is contracting with a publisher for the first time. Let’s say the publisher loves their writing and we get a two book deal. And with a prolific writer, those two books may already be complete before we even sign the contract. They’ll have edits and revisions to deal with over the next couple of years, but they’re going to want be writing also, since that’s what makes them happy. So they start on a new project.
Six months later, they’ve finished that new project and they’re antsy to do something with it. Unfortunately, it may not be that easy. We are now in the dead zone between signing a contract, and actually having a book released and some sales figures to show for it.
There’s a good chance we can’t shop or sell that new project, because the original publishing contract for those first two books prohibits an author from doing so for a specified length of time, which may last until the first book - or the last book - in the contract has been released.
That publisher may even have an option on the author's “next work” and their contract may specify that they won’t exercise the option until a certain time. Their goal will be to get some meaningful sales data on that first book before they decide whether to buy more books from the author.
They also don’t want the author confusing their brand or cannibalizing their own sales by putting out books from another publisher while that first contract is still in play.
Of course, sometimes we try to soften these clauses in contracts (with varying success), but we also have to remember that the publisher needs to protect their investment in you, their author, and these clauses do make sense.
So what about my author who just got a two-book deal, both books are complete, a third is also complete, and she’s nearly finished with a fourth? I’m advising her:
1) Keep writing. We should be able to sell those books eventually.
2) Since there’s no hurry to write more books, spend more time on carefully building her brand and platform, including planning and writing her blog.
3) She can find other ways to make money from writing during this time. She can consider writing articles, or ghostwriting.
4) Selling other books under a pseudonym could be a possibility, but not one I recommend. All her books are firmly in her genre—the brand she’s trying to build. If she were writing under two names, she’d not only be competing with herself in the market, she’d also have to try and maintain social media presence under two names—something most authors won’t have the time or energy to do, especially when they still work the day job and have children at home.
Later in your career when you’re an established author, you’ll have more freedom and you may be able to publish with more than one house at a time; we’ll also have more leverage to negotiate these sticky clauses in publisher contracts.
But if you’re a new author, be aware that in
I was editing a proposal for a client recently and thinking how much has changed in the fifteen years since I first started working in publishing Really I was thinking about how slow things used to be, and while I know many of you will say things are slow now, you should have been around fifteen years ago.
Fifteen years ago an author would finish a book proposal or manuscript. She would proofread, revise, and edit. Then she would head down to the nearest office supply store, buy paper, and print out 50 to 400 pages. She’d then carefully bind it together with either a rubber band or binder clip, place it in an envelope, drive to the post office, and mail it off to her agent. The material would arrive on her agent’s desk roughly 2 to 5 days later.
Now the author finishes the book proposal or manuscript, proofreads, revises, and edits. She then hits “Save,” opens her email program, types in her agent’s name, hits the “Attach” icon, and then "Send." The material arrives on her agent’s desk roughly 2 to 5 minutes later.
Fifteen years ago the agent would unwrap the package, pull out the pages and a blue or red pen, and read while making notes and marks all over the pages, and possibly composing a letter in a notebook at the same time. Once finished, the agent would sit down at the computer or typewriter (and yes, this is what we had in the office when I first started in publishing) and compose her revision letter using the notes in the notebook. The agent would then bundle up the entire package in an envelope and send it off to the author for arrival 2 to 5 days later.
Now the agent opens her email, opens the attachment in Word, or some other word-processing program, turns on track changes, and begins reading and editing. She make her notes in the margins of the manuscript and tracks any changes she makes. While making the changes the agent (or me) writes notes on overarching problems in an email to the author. When she's finished editing, the manuscript or proposal is attached to the email and sent off to the author for arrival 2 to 5 minutes later.
Fifteen years ago, when a manuscript was ready to go out on submission, the agent would send a copy to the printer and have roughly six copies made. Once those copies were back from the printer, they would be collated into boxes with a query letter that had been written six different times and printed. The manuscript boxes would be placed in envelopes and hauled to the post office for mailing. The submission would arrive in the editor’s mailroom roughly 2 to 5 days later, to be delivered to the editor a day or so later.
Now the agent prepares six different submission emails and attaches the manuscript to each email. The emails are then sent off to the editor for arrival on the editor’s desk 2 to 5 minutes later.
I have to admit, I don’t miss those days.
Jessica
By:
Michelle in Marketing,
on 8/26/2010
Blog:
Albert Whitman & Company Blog
(
Login to Add to MyJacketFlap)
JacketFlap tags:
new books,
publishing process,
Sarah Snow,
Children's Books,
Book News,
illustrations,
Kristi Valiant,
Maryann Cocca-Leffler,
Alison Formento,
Janna Matthies,
Rebecca O'Connell,
Amanda Gulliver,
Add a tag
Summer has been fun here in the Albert Whitman offices, because our new Spring 2011 titles are in full-tilt production.
Original art as been breezing through on the way to pre-press
Original art from Princess Kim and Too Much Truth by Maryann Cocca-Leffler, sequel to Princess K.I.M. and the Lie That Grew
color proofs float through on the way to the printer
Color proofs from The Goodbye Cancer Garden by Janna Matthies, illustrated by Kristi Valiant
and dummies spread across table tops for all to see.
Sales dummies for This Tree, 1, 2, 3 (The Board Book edition of This Tree Counts! by Alison Formento, illustrated by Sarah Snow) and Done with Diapers! A Potty ABC (The Board Book edition of Danny Is Done With Diapers! A Potty ABC by Rebecca O'Connell, illustrated by Amanda Gulliver)
Finished books are still months away and pub dates aren’t until March, but as the Spring 2011 selling season enters full swing in September, it’s very exciting to watch these final stages of book production come together.
(I loved all your responses on the Friday Free-For-All, and will answer questions next week. I'm taking a blog hiatus and will re-post some oldies but goodies this week. Hopefully they're just as good the second time around!)
Last week our book group had our monthly meeting. We were discussing The Forgotten Garden by Kate Morton. So I sat down and was all like, "Oh my gosh, I LOVED this book, it's been such a treat to read, so well written, such a wonderful escape... blah, blah, blah." But I sort of tapered off my rhapsodizing when I noticed less-than-enthusiastic looks on the faces of a couple of the people in my group.
"So, what, didn't you like the book?" I asked.
"Well, yeah, of course, I mean... yeah, it was okay."
Okay. OKAY?? Seriously, how could they not LOVE this book??
Ahem.
This is what it means to be in a business based on people's totally subjective opinions. It's not just your query or your proposal being scrutinized by people with vastly differing tastes. Eventually, it will be your book. People will discuss it, and some will love it. Others will wonder, "How did this tripe get published?"
So all up and down the line, we have to deal with the subjectivity. Of course, this is true of just about any business, right? Especially if you're trying to sell something to consumers.
Just remember, every opinion you get from someone is just that: an opinion.
Come to think of it, this subjectivity is one of the reasons I don't go to great lengths to describe why I'm passing on someone's project. No matter what I say, I could be wrong. I don't want to go around making pronouncements as if they're meaningful. I'm just one person. It's just my opinion. I don't want to reject a future bestseller, only to be quoted later as saying in my letter, "Your writing sucks and this will never sell."
Below, alleged quotes from rejection letters on famous books. I don't want this to be me!
Lord of the Flies by William Golding: "an absurd and uninteresting fantasy which was rubbish and dull."
The Diary of Anne Frank: "The girl doesn’t, it seems to me, have a special perception or feeling which would lift that book above the curiosity level."
Carrie by Stephen King: "We are not interested in science fiction which deals with negative utopias. They do not sell."
Animal Farm by George Orwell: "It is impossible to sell animal stories in the USA."
Regarding John le Carré, author of The Spy Who Came in from the Cold: "He hasn’t got any future."
Of course, it always sounds stupid after they've gone on to win awards and sell millions. From where I sit, it's easier just to say, "It's not for me."
(c) 2010 Rachelle Gardner, Literary Agent
I was talking with our intern Sarah the other day (hi Sarah!) and she had some questions about a couple of my recent posts. In It's About What's Selling I explained that publishers tend to make future decisions based on what has sold well for them in the past. Yet in Don't Ask Me About Trends I said that while I pay attention to what's selling, I also take trends with a grain of salt.
So Sarah's question was: Which is it? How do you make decisions?
Once and for all, I'll try to explain this.
Years ago, a famous screenwriter named William Goldman coined a phrase that came to be an oft-repeated mantra in Hollywood: Nobody knows anything.
By this, he meant that we can't predict the future. So when a studio plunks down millions of dollars to make a movie, or a publisher shells out thousands to produce a book, there is no guarantee that it will sell. This has always been true, and it will always be true.
Still, we have various tools at our disposal that help us make decisions about what kinds of books to publish (or what kind of movies/TV shows to produce). They are:
1. The past. We look at what has done well in the past, and ask ourselves if this new project could imitate that kind of success, or piggyback off it to find its own success.
2. The culture. We observe cultural developments. We watch what's going on in the arts—music, movies, theater, TV. We stay aware of what people are talking about.
3. Politics, the economy, and the news. We consider the potential impact of current events. A presidential election, a hurricane, a recession—these are all major factors in Americans' daily lives. We ask ourselves how these events might influence a future book buyer.
4. Our own instincts. We trust what we know. We like books and we like to read, which is why we're in this business. We've spent considerable time honing our tastes and our ability to predict whether others will like the same things we do. If we don't have confidence in our instincts, we don't last in this business. This is one of the greatest assets for many people in publishing.
***
Whenever an agent or publisher considers taking on a certain book or author, this complex web of criteria comes into play to help us make the decision. It's never just one thing. It's not, "I like the book and that's that." It's not, "This is like Harry Potter, and Harry Potter sold well, therefore this will too." It's always more complicated than that.
It’s sort of like the way you make decisions about big purchases—a new car, or a giant TV. You look at a number of different "objective" factors, add in your emotional response, and make your choice.
You pays your money and you takes your chances. After all, nobody knows anything.
(c) 2010 Rachelle Gardner, Literary Agent
I get a lot of referrals from clients, which, of course, I absolutely love. In fact, just last month (or maybe the month before) I signed a new client who came through a referral. But I digress.
The reason I’m writing this post is because there is definitely a different way of doing business in every industry, and publishing is no exception. When a nonfiction client refers me or introduces me (usually through email) to a potentially new writer, almost inevitably the writer follows up with an email suggesting times when we should talk on the phone. She always has a list of book ideas she’d like to discuss and I never get the feeling she has a book proposal.
Frankly, I still haven’t quite figured out how I want to handle these situations. More often than not these phone calls end with me saying that the idea sounds viable, and rarely do I ever see a proposal when I tell the author that’s what I would need. Now, I’ve scheduled time out of my day to have the call, wasted time explaining the business to an author, and nothing much comes from it.
So I’ve responded via email instead, explaining how the process works in publishing and letting the author know I’d need to hear more about the book. The author, of course, seems miffed that I can’t take the time for a phone call and, again, I never see a proposal.
Most of the authors I experience this with are business authors, and obviously they are doing business in the way they are used to. I don’t think it’s wrong, it just doesn’t necessarily work for publishing.
Jessica
One of the most frequent questions I get is, How long will it take?
How long should I wait before following up with an agent on a submission?
If I get an offer from a publisher, how long before they send a contract?
How long until I see my first check?
When will my manuscript be due?
When will I see my book on the shelves?
How long does this process take, anyway?
Unfortunately the answer is usually something along the lines of, “An excruciatingly long time.” It varies according to who you're dealing with and many other factors. I'll try to offer a few hints.
8 When dealing with agents and wondering when to follow up, check their submission guidelines. They sometimes give you a clue about when to check back after submitting. It could be anywhere from several weeks to several months. If they don't offer any advice, I think it's reasonable to check back every couple of months until you hear something definitive. Also, note that some agencies have a policy of only responding if it's positive, i.e. "If you don't hear from us after three months, consider it a no."
8 Offer-to-contract timeframe also varies from about a month to a couple months or more. I've heard authors and agents complaining lately about how long it takes to get a contract.
8 If your contract specifies an advance, you'll usually get your first check about 30 to 45 days after the contract is fully executed (meaning, signed by all required parties). You may receive your advance in thirds: 1/3 on contract signing, 1/3 when you deliver the final edited manuscript, and the remainder when your book is published. Or you may receive it in halves: 1/2 on signing, and 1/2 on delivery of final edited manuscript. (And there are many variations to this. I'll go over it another day.)
8 Manuscript due dates can vary from "upon contract" if your book is complete, to six months or more after contract.
8 And the big question, When will my book be on shelves? Again, this varies, but figure it will be a year to 18 months from contract.
So as you can tell, the answer to "How long will it take?" varies. The only definitive answer I can offer is "It depends."
Rachelle Gardner, Literary Agent
I have written a book about [insert either fiction or nonfiction subject here] and would like to know where I can find publishers or agents who handle these types of books.
I get questions like this all the time emailed to the blog, in lieu of a query, or even via phone, so while it might seem basic, let’s discuss it anyway.
There are a number of terrific books and Web sites available to get you started on the road to publication. I’m going to ask my readers to comment on some of their favorites as well, so don’t forget to read through the comments section. However, the first place I suggest writers start is The Complete Idiot’s Guide to Getting Published, and they do have a variety of different titles targeted to specific genres. This book will give you a basic understanding of publishing and what it takes to get published. From there you can begin your search for agents and publishers.
I also recommend Jeff Herman’s Guide to Book Publishers, Editors, and Literary Agents or Literary Marketplace as a place to begin researching which agents might be right for you. Keep in mind I say "begin" because books are written nearly a year before publication, so you can’t guarantee the information you find there is the most up-to-date. Therefore, I would use these books to write your preliminary list and then work to further perfect your list by using the various Web sites and blogs that tend to have more updated information. Sites I recommend are Preditors & Editors, Absolute Write, Backspace, or Agent Query.
I also strongly recommend that you become involved in a local or online writers group; there are many around the world, including local chapters of Romance Writers of America, Mystery Writers of America and Science Fiction Writers of America. Whether you write in genre fiction or not these organizations all provide an amazing resource for authors.
And of course, before submitting to any agent be sure to read the submission guidelines and review the information on that agent’s Web site. This will ensure that you follow proper submission procedure and that your material fits the genres the agent represents.
Jessica
By now you all should be keeping updated on the Amazon v. Macmillan battle. If you aren’t, you should be. For those of you who are published this will eventually affect your sales, how your books are priced, and the money you make. For those hoping to be published, knowledge is power.
Earlier this week Wired.com posted this article on the issue. What I think is interesting is this belief that publishers hold a monopoly on their product. That would be like saying Coca-Cola held a monopoly on Coke products. Well, duh, they are the manufacturers of Coke. Granted, the publishing industry is hugely different from a product like Coke, but to some degree it’s not. A publisher should be able to determine the price of their product based on production costs, marketing and publicity costs, advertising, and the price paid to an author. Isn’t that how a manufacturer determines it’s costs?
Amazon and other retailers are welcome to price the products they sell however they like, and if they think the price is too high, I guess they’re welcome to not sell them. That’s how bookstores work. If they feel they can’t sell a certain book they stop selling them. They return the books to the publisher and the author’s numbers go down. It does not make sense to do this to an entire publishing house just like it doesn’t make sense to stop carrying all Coke products just because you think Dasani water might be priced too high.
Ok, I’ve launched into the same point everyone else was talking about and that’s not what I meant to do here today. What I meant to point out was what’s really missing from this discussion, and this article, and that’s the author. I believe, absolutely, that books should be priced by the publishers, but should all books be priced the same? Maybe instead of automatically charging $25 for a book we should look into the costs that go into that particular book. For example, a book with a $100,000 advance, television ads, and money spent on promotion should be priced higher then a book with a $5,000 advance and no advertising or marketing efforts. Maybe instead of putting your money into my book, publishers should start to price books based on the money they’re putting into them? After all, if you aren’t putting advertising into a book, then wouldn’t the author (and book) benefit from a lower price point?
And, if books are being priced higher, where is the author in all of this? Why are publishers still paying such low royalty rates on ebooks? I understand, and I agree, there are still costs that go into ebooks. The publisher will still (hopefully) pay for marketing and publicity, beautiful cover art, cover copy, and editors. Boy, do I hope they continue to pay editors. But if we’re not paying for paper and shipping and production, but we’re still charging the same for ebooks as we are for paper books, then isn’t it fair to start sending a little more of that money the author’s way?
Anyway, in all of this craziness about who has the right to price books, let’s not forget where these books come from in the first place. Let’s not forget the author.
Jessica
Can i realistically expect to write a fantasy novel with a fairly standard Tolkienesque type of plot, as a first book, probably submitting to an agent when i'm around seventeen?
First let me answer the question as you’ve written it, and then let me answer the question I think you meant to ask.
I think it’s absolutely realistic that you could write a Tolkienesque fantasy novel and submit to an agent when you’re around seventeen. However, I don’t think you really meant to ask me what you can realistically do. I think you meant to ask if it’s realistic that you could get an agent.
There are so many variables to this question that I really can’t answer it. First of all, I have no idea how old you are, how long it will take you to write the book, or what you’re expecting. In other words, if you’re twelve now and expect to take five years to write the book, sure, you can submit to agents, but whether or not an agent is going to offer representation depends on how well the book is written, how different and exciting the book is, what the market is like, and whether or not you’re able to connect with an agent who is looking for just that kind of book. If, however, you’re sixteen and a half, I would probably have to tell you that I don’t think it’s realistic that in six months, or even a year, you could finish (assuming you haven’t started) a Tolkienesque book that’s ready to be seen by agents. My guess is that it would probably take you longer to write, revise, edit, and edit more.
I suspect one of your concerns is your age. Frankly, I don’t care. I don’t care if you’re seven, seventeen, or seventy-seven, and I don’t think anyone else should care either. If you’ve written a really great book, all an agent cares about is whether or not it can be sold. Don’t worry about your age. Write the book.
Jessica
Confused about Amazon vs. Macmillian and everyone else? Harkaway explains.
I loved his book, BTW.
A little over a year ago I was in the middle of an exciting auction (the first I conducted as an agent) for a book by Julie Hadden, the 1st runner up on Season 4 of "The Biggest Loser." I'm excited that the book, Fat Chance, released this week. See the end of this post for instructions on how to receive a free copy of Julie's book.
I wanted to give you a little background on how I became involved with this book. Each project has its own journey, and with this one, there was a lot of synchronicity involved, or should I say serendipity? Others will call it a "God thing." Here's how it happened.
In late 2007, I was looking for a good TV show I could watch with my kids. We enjoy shows like Amazing Race and American Idol, where we can watch people overcome challenges, and root for our favorites week by week. I decided on The Biggest Loser. I'd never watched it before, but my girls and I immediately got hooked. We watched the whole season together, and found ourselves inspired and motivated along the way. There was a woman on it named Julie. She was sweet, she was a mom, and she was such a hard worker. She was our favorite, and we rooted for her all the way to the final episode where she came in second place.
Fast forward seven months. In July of 2008, my query box held an email with a familiar name attached - Julie Hadden. Her query letter was beautifully written, just the right length (430 words) with the right pitch to pique my interest. She told me how her mind, spirit and body were transformed through her incredible experience on The Biggest Loser. She felt she had learned so many things that could help other people who were struggling with doubt, self-image and weight issues. She was already on the speaking circuit, inspiring hundreds of women at a time, and now she wanted to share her story in a book. Needless to say, she had the platform. Now all she needed was an agent and a publisher.
Well, to put it bluntly, I flipped. I couldn't believe it was really Julie, my favorite contestant from the only season of The Biggest Loser I'd ever watched. I got in touch with her that same day. She had queried several agents, and I was the first to respond. Julie and I chatted a number of times and connected on numerous levels. I understood her vision for the book, and had a lot of ideas to add. I articulated for her what my plan of action would be if she signed with me. It helped that I already knew Julie's story since I'd watched it unfold on national television and I felt a personal connection with her. (I don't think any other agents she queried had that edge.)
It was only two weeks later that she signed on as a WordServe client and we went to work on the proposal and sample chapters. Two months later in October it was finally ready for submission and I began phoning a handful of editors and sending it out; in November we had our auction which in
***Warning to all reading this: It’s full of sarcasm and nothing but a rant, but I had a really good time writing it.
Not too long ago somebody (I’m not sure if it was a man or woman, or even using her real name, so we’ll go with “she”) thought it would be a good idea to send an angry diatribe of an email to roughly 400 publishing professionals. How do I know 400? Because all of our email addresses were there for the world, or at least 400 publishing professionals, to see.
The email was entitled “confidential memo.” I mean, really, how confidential can anything be when it’s from a stranger and blindly sent to 400 people, many, or most, at generic submission addresses? But if that’s what you think, I’ll respect that. Okay, no I won’t.
The email started by telling us all how much writers disregard the publishing industry and hold us all in contempt. My first thought was that you must not disregard us all that much if you’ve gone to the effort to collect 400+ email addresses and send this email, but I’ll keep reading. Apparently, according to this writer, bestseller lists only promote shallow and marketable books and there’s nothing being published that’s written by anyone with any lasting talent. Interesting, the same was said of William Shakespeare and Jane Austen, but what do I know? Maybe they’re just hacks.
The funny thing about bestseller lists is that publishers don’t actually place the books on the lists themselves. They are there because readers love those books, buy them in mass quantities and, lo and behold, they become bestsellers. I guess it would be better if we only published books readers didn’t want to read or buy? Ah, so many things I’ll have to consider.
And then of course there were the usual complaints about expecting writers to “sell” their books to agents and how writers aren’t salespeople and that the system needs to change. Blah, blah, blah. How do you think we’re going to find authors if you in some way can’t at least tell me about your book in a way that’s enticing? Because if people are getting published daily, new authors, it’s somehow the system’s fault that you’re not?
Okay, so this was my favorite part. The part about how it was a crime that hardworking people spend years writing a manuscript only to get it rejected. Newsflash! I never asked you to write that manuscript. If it’s a crime, it’s a crime you perpetrated on yourself. Don’t blame me, or should I say the 400 of us, because what you wrote isn’t publishable (or at least that’s why I’m assuming I got this email).
And then of course there was a lot of misinformation about how unethical agents are, how writers who are successful are whores, how publishers only want books by actors and politicians and then something about if I liked Vanilla Ice or MC Hammer then I’m nothing but a sheep.
I really only have one thing to say to this person: insult me all you want, but insult my authors and you are a complete fool. Don’t ever assume any of the clients I represent are thieves, whores, or hacks. They are talented writers who have worked hard to get to where they are. I’m not representing them because I’m looking for easy money or to fill bestseller lists (although we’re hoping to do that too), I’m representing them because I like the books they write. No, I love what they write, and this might surprise you, so do thousands of other people.
Don’t worry, it’s people like this who only give other idiots a bad name. Oh, and give me something to rant about. I mean, seriously?!
Jessica
I was completely impressed with how many of you chimed in on Friday's post on You: The Marketing Machine. You eloquently expressed your enthusiasm, your dread, and/or your ambivalence about the need to market your own book.
One of the themes that cropped up frequently was the romantic fantasy of the writer as a loner, holed up in his/her writing cave, emerging to deliver a masterpiece to the publisher, then retreating once again to remain forever invisible while the book took care of selling itself. (I completely relate to this, by the way.)
It got me to thinking about one of the truths of publishing that doesn't seem to be addressed or acknowledged often enough:
Publishing is a collaborative art.
It's like the whole world conspires to persist in the fantasy of a book as the product of a single brilliant individual. I think we all love this fantasy, the readers most of all. Even those of us involved in the business of creating books can succumb to it once in awhile.
It's true that the book is primarily the product of you, the author. But in general, I'd say that most books end up to be roughly 75% the author, 25% everyone else involved in bringing the book to market.
For some authors, the percentages may be different. For self-published authors, the percentages don't apply because you're making the intentional decision to decline collaboration and instead, do it mostly yourself. But for most, this is probably about right.
Yes, you may spend months or years of your life digging that book up from deep down inside you, and wrestling it to the page. You may have birthed it in pain and agony. You've given it your all.
But when you're done with it:
→ An editor will edit it.
→ A copyeditor will copyedit.
→ A proofreader will proofread.
→ A designer will design and typeset the interior.
→ Another designer will create a cover.
→ A marketing team will consider your title and perhaps give you a new one.
→ A sales team will pitch it to buyers.
→ A printing company will print your book.
→ Bookstores will sell your book.
You get the picture. By the time your book arrives in the hands of a consumer, dozens of people have played an important role in getting it there.
You're the one who gets the ball rolling. You're the most important part of this collaborative team. Without you, no one else on the team has a job.
Just remember the collaborative nature of this art, this business. Don't get too used to the fantasy of the solo artist in a cave, toiling alone. If that's the life you want, self-publishing is a terrific option for you. (But you'll still have to emerge from your cave to market and sell.)
→ Have you thought about the collaborative nature of publishing a book? Are you okay with it?
.
I really enjoyed my blogging break last week, and I'm glad I got a chance to re-run the "Proposal to Publication" series. I hope it helped de-mystify the process for you.
As I was reading through it, I noticed there are some lessons you could take away in terms of what you can be preparing yourself for, now, before you enter the process.
1. Many writers balk at the requirement to write a really strong book proposal. You may have noticed in Friday's post that everyone in the publishing company, including the sales, marketing, and art departments, are given your book proposal and sample chapters. They might not have time to read your whole book, but they need to know enough to do their jobs. This should be enough of an incentive for you to write the best book proposal you possibly can! If your book is fiction, that 1-sentence hook and 1-page synopsis are all-important.
2. Editing: I've said this before, but you need to be ready for your work to be ripped apart with no apologies from your editor. You already know they like it because they bought it. Try not to be too sensitive here; they just want to help you be the best you can be.
3. Editors typically work in MS Word, and often the editing process consists of sending your manuscript back and forth via email, using Track Changes and Comments. You need to be VERY comfortable with this process. If you're not, get a buddy, and practice passing a document back and forth to each other making edits using Track Changes and Comments.
4. Since you MAY be asked for lists of contacts to create Influencer lists and Endorser lists, you'll want to be networking in the writing community and making friends long before you're published. Writers conferences and online groups are a terrific way to do this.
5. Since your title and cover design will be up to the publisher, don't get your heart TOO set on something in particular. If you believe this is a dealbreaker issue for you, then you must get it written into the contract (good luck with that).
6. With all the revisions, editing, and marketing... be ready for your life to be busier once you get a contract. Can you handle it?
Was there anything that surprised you about the process I described last week? Did it encourage you - or the opposite?
.
You hear stories all the time about editors working with authors on books, maybe change an ending, add this, take out that, etc. Is this after they've bought the book? I guess what I'm after is, does an editor say, I like this book, but author is going to have to revise the first section, then I'll take it, or I'll take it now, and we'll continue to work on it?
The revisions your editor suggests and works on with you can vary greatly from book to book, editor to editor, and project to project. Like many of the answers I give on the blog, there is no real answer to this question.
The ideal is that all of you will end up with an editor who will ask for some sort of revisions. To quote the reader directly, to ask you to “add this, take out that, etc.” should be normal and expected of an editor. Presumably every single book that’s sold could use a little buffing up. Even if it’s removing one small scene that seems unnecessary.
How this is presented to the author depends on the situation. I’ve had editors call to tell me that they really want to make an offer, but need to know first if the author is willing to change such and such. The changes aren’t required at that time, but they want a sense of how open the author would be to them. In other instances I have actually had editors call and request changes just to the synopsis (this is on a partial submission). For some reason the editor, or editorial staff, felt they needed to see the revised synopsis before the offer came in, and of course I’ve had deals made and finalized and suddenly the author receives an extremely detailed revision letter with no real warning up front. I haven’t been the author of those letters in any of these situations, but my feeling is neither is better or worse than the other. Typically a revision letter will come whether there’s warning or not, and typically that revision letter will be surprising, painful, and hopefully wonderful all at the same time.
I think the best way for an author to look at the editorial process is to assume that an editor is expecting perfection, because even though revisions will always be requested, perfection is what she’s looking for. When being interviewed by potentially new clients I’m always asked whether or not I do editorial work with my clients and my answer is always yes. I will never send a book out on submission until I feel it’s as perfect as we’re going to get it. I never, ever want to receive a rejection letter back from an editor and think that I knew that was a problem, but was trying to get it by anyway. Revisions will only be requested when the editor sees them as minor in comparison to the success she envisions for the book.
Jessica
Some time ago I posted a letter from a reader in which she implied that there were certain people visiting writers forums who had “no business writing.” This comment, more than anything else in the letter, caused quite a stir. Many criticized the author for being a snob and not giving a break to newbies.
I have no idea where this statement came from, whether it was based on seeing writing samples or just on the questions people ask. What it got me thinking about though was the entire writing v. publishing discussion. I disagree that there’s anyone out there who has no business writing. In fact, writing can be a wonderful form of communication, therapy, or just plain fun and anyone who wants to write should grab pen and paper or keyboard and computer and get to it. Part of the joy of writing this blog is that I get a chance to write, something I don’t typically get to do.
What I wonder about this reader’s question though is not whether she meant people have no business writing, but whether she meant that there are people out there who have no business seeking publication, and for that I wonder if she might be right. We talk frequently about how busy and inundated agents are and the huge influx of queries we are all seeing. What we rarely talk about however is how many of those should really be seeking publication. Despite what many writers seem to think, not every word you write is brilliant and not every book should be seen by the world. In fact, I spoke recently to a writer at a conference who wanted to write and share the family stories told to her as a child. She was getting older and thought the stories would be lovely to share with family and friends. She wanted to know from me if I thought it was worth getting an agent for. I suggested that in this case she might consider self-publishing. She didn’t want to fictionalize it and really wanted it for the purpose of a family legacy. It seems like a great idea, but not likely something that would sell thousands of copies in a bookstore or appeal to a mass audience.
I think one of the problems the Internet has created for publishing is that everyone thinks every book written deserves to be published, and let’s face it, that’s just not true. I’m not saying that the people the reader was talking about have no business being published ever, but I do imagine there are a lot of books written that aren’t ready to be queried and may never be ready to be queried. The problem often is that there is no way to know that until you actually try.
Jessica
I’ve done a similar post on publishing terminology, but I realize that it can never hurt to do it again. For those who have been regular readers of the blog, I apologize for the repetition. What I’ve done today is pulled out that old list and added to it so that hopefully we have a strong list of terms that new and experienced authors can use when they feel stumped. Think of it as the New and Updated Publishing Dictionary.
AAR: The Association of Authors’ Representatives is an organization of literary and dramatic agents that sets certain guidelines and standards that professional and reputable agents must abide by. It is really the only organization for literary agents of its kind.
Advance: The amount the publisher pays up front to an author before the book is published. The advance is an advance on all future earnings.
ARCS: Advance Review Copies. Not the final book, these are advance and unfinalized copies of the book that are sent to reviewers.
Auction: During the sale of a manuscript to publishers sometimes, oftentimes if you’re lucky, you’ll have an auction. Not unlike an eBay auction, this is when multiple publishers bid on your book and ultimately, the last man standing wins (that’s the one who offers the most lucrative deal).
BEA: BookExpo America is the largest book rights fair in the United States. This is where publishers from all over the world gather to share rights information, sell book rights, and flaunt their new, upcoming titles.
Blurb: A one-paragraph (or so) description of your book. People often compare a blurb to back cover copy, and while it’s similar, it’s frequently more streamlined and focuses on the heart and the chief conflict in the story. This is the pitch you use in your query letter as well as the pitch you would use in pitch appointments.
Commission: The percentage of your earnings paid to your agent, typically 15%.
Copy Edits: Edits that focus on the mechanics of your writing. A copy editor typically looks for grammar, punctuation, spelling, typos, and style.
Cover Letter: This is the letter that should accompany any material you send to an agent or an editor. A cover letter should remind the agent that the material has been requested, where you met if you’ve met, and of course the same information that is in your query letter—title, genre, a short yet enticing blurb of your book, and bio information if you have any. This can often be interchanged with Query Letter.
Fiction: A story/book based on research and imagination.
Full: A full manuscript.
Galleys: Another word for ARCs. Galleys aren’t always bound, but are also sent to reviewers as well as other sources for publicity. Galleys are often a copy of your Page Proofs.
Genre: The classification of books. Examples of genre in fiction include mystery, romance, science fiction, fantasy, nonfiction, and in nonfiction you might see sub-genres like business, health, parenting, pets, art, architecture, memoir, or current events.
Hardcover: A book printed with a hard cover.
Imprint: The name within the publishing house that the book is published under. Usually done as a way to market certain types of books. For example, Aphrodisia is an imprint of Kensington. It is still a Kensington book, but by publishing under Aphrodisia you are branding the book as erotic romance. Prime Crime is an imprint of Berkley that brands the books published as mysteries.
Literary Agent: A literary agent works on behalf of the author to sell her book and negotiate with publishers. A literary agent also helps with career planning and development and sometimes editing and marketing.
Marketing: Marketing is advertising that is paid for, including ads in magazines, display units in stores, and things like postcards or posters.
Mass Market: Also called “rack size,” these are paperback books originally designed to fit in rotating book racks in non-bookstore outlets (like grocery stores and drugstores). Mass market paperbacks are roughly 4” x 7” in size.
MWA: Mystery Writers of America is the national organization of mystery writers and a great source of information for all writers.
Narrative Nonfiction: Nonfiction written in story form like memoir, biography, autobiography, etc.
Nonfiction: Writing based on fact.
North American Rights: These are the type of rights licensed to the publisher, allowing the publisher only to handle and represent book rights in North America. This means that the author and the author’s agent are responsible for selling/licensing rights anywhere outside of North America (and usually a designated set of territories).
Novel: Book-length fiction. Therefore, note that it is redundant to say “fiction novel.”
Partial: A partial is frequently what an agent will ask for when taking a book under consideration. For fiction and narrative nonfiction a partial usually includes a cover letter, a designated number of chapters from the book, and a synopsis. For non-narrative nonfiction a partial usually contains an extended author bio, an overview of the book, an expanded table of contents, detailed marketing and competitive information, and of course sample writing material (usually a chapter or two). Also called a Proposal.
Pitch: Frequently verbal, the pitch is your Blurb. It’s a one-paragraph (or so) description of your book. It’s what you use to entice readers to read the book and describe the story.
Preempt: When a publisher makes an advance and royalty offer high enough to take the book off the auction table. In other words, a publisher offers enough money that the author and agent agree that they will sell the book without asking for bids from other publishers.
Proofs/Page proofs: This is the last stage of editing that a book goes through. They are a copy of the designed pages, and the author is given one last chance to review the typesetter's “proofs” to check for typos or other small errors. Proofs are also what are used to make review copies for reviewers and sometimes rights sales.
Proposal: A proposal is frequently what an agent will ask for when taking a book under consideration. For fiction and narrative nonfiction a proposal usually includes a cover letter, a designated number of chapters from the book, and a synopsis. For non-narrative nonfiction a proposal usually contains an extended author bio, an overview of the book, an expanded table of contents, detailed marketing and competitive information, and of course sample writing material (usually a chapter or two). Also called a Partial.
Publicity: Advertising that is free. Publicity includes magazine and newspaper articles, radio and television interviews, and of course MySpace and other networking Web sites.
Query: A one-page letter sent to agents or editors in an attempt to attain representation. A query letter should include all of the author’s contact information—name, address, phone, email, and Web site—as well as the title of the book, genre, author bio if applicable, and a short, enticing blurb of the book. A query letter is your introduction and sometimes only contact with an agent and should not be taken lightly.
Revisions: This is when the bulk of your edits are done. Revisions are typically done with the editor acquiring your book and sometimes with your agent before even submitting a project. Revisions can include anything from fixing punctuation to rewriting the entire book. It’s a collaborative process between editor and author.
Royalties: The percentage of the sales (monetary) an author receives for each copy of the book sold.
RWA: Romance Writers of America is the national organization of romance and women’s fiction writers and a great source of information for all writers.
Sell-Through: This is the most important number in publishing. It’s the percentage of books shipped that have actually sold. For example, if your publisher shipped 100,000 books but only sold 40,000, your sell-through is 40%. Not so great. However, if your publisher shipped 50,000 books, and sold 40,000, your sell-through would be 80%. A fantastic number.
SFWA: Science Fiction Writers of America is the national organization of science fiction and fantasy writers and a great source of information for all writers.
Slush/Slush Pile: Any material sent to an agent or an editor that has not been requested.
Synopsis: A detailed, multipage description of the book that includes all major plot points as well as the conclusion.
Tag Line: The one line often used on the front cover of the book to grab a reader’s attention. Tag lines, while fun for writers to write, really aren’t necessary until you have a publishing contract.
Trade: To make it easy, trade is the shortened name for trade paperback books and is basically any size that is not mass market. Typically though they run larger than a mass market edition.
Vanity Press: A publisher that publishes the author’s work at the author’s expense (not a recommended way to seek publication by most agents or editors).
World Rights: When World Rights are sold/licensed to the publisher the publisher has the ability to represent the book on the author’s behalf and sell foreign translation rights anywhere in the world. Keep in mind that the author does get a piece of the pie no matter where the book is published.
Jessica
Like many of you, I have a number of social network profiles. Amazing how much time we could spend in those places, isn’t it? While I don’t go to them daily, I do try to check in regularly and keep my contacts up. On my linkedin profile, for example, I try to check in on the Writing and Editing Question and Answer Boards and answer any questions people might have on publishing, how to get published, and the publishing process. And I can’t even begin to tell you how frustrating it can be.
You all feel that the publishing process is mind-boggling, confusing, and frustrating, and in many ways it is, but I’m here to tell you that you are already miles, years, heck light-years ahead of many other people when it comes to getting published. Why? Because you read this blog, and because you read this blog, I assume you read other blogs, belong to writing groups or organizations, or just generally have some idea of what publishing means. Let’s face it, I live in a publishing bubble. This is my life, so it surprises me at times what people don’t know. It’s actually not the questions I worry about. Questions are fine. In fact, questions are great and heck, we all have to start somewhere. We all, at some point, had no idea what the first step was to get published. All we had was an idea, and to learn we have to ask. It’s the answers that kill me and, obviously, make me a little angry. No wonder you are all so confused and frustrated. Ugh!!
For example, in a recent question I answered the person asked, quite simply, how to get published. There was no mention of fiction or nonfiction and he wanted to know additionally if he needed a literary agent. If I were in a room with the people giving the answers, I swear my face would be beet red and I’d be yelling. The answers were astounding and horrifying and frankly, I really hope this isn’t the only place this writer goes for his answers.
I read that you should only consider self-publishing because all publishers are going out of business and no one is buying books. I read that waiting for an agent is ridiculous and that getting a publisher is a waste of time because by the time they’re done with the book it doesn’t resemble what you wrote anyway. I read that since War and Peace was self-published you should definitely consider that route. I read that a publisher takes your copyright and I read that publishers won’t allow you to include contact information in your book so that readers wanting to reach you need to go through the publisher.
Huh?! While there was some good advice there (in the answers, not in my examples) and of course I added my fifty cents, I worry which advice the author will really follow and I worry how frequently people identify themselves as experts and yet don’t know anything about publishing.
So just when you think you know nothing about this business, I think you can happily pat yourself on the back and remind yourself how far you’ve come. You know where to go for great information and you know what a literary agent can do for you and hopefully you know that the publishing process that War and Peace went through does not translate to today’s market.
Jessica
I decided on a publisher from the two I had offers from. (More details after I’ve signed the contract.) I waited eagerly and a bit impatiently for the contract, and then yesterday the editor emailed it to me. It’s 17 pages, single spaced. Wow!
I’ve read articles over the years on contracts, on things that you might want to try for, and things to watch out for, but I find my memory a bit foggy. I can see I’m going to have to do some more research. I know one thing to watch out for is the option clause–to make it specific about what type of manuscript the publisher has the option to publish next, and also to limit the time.
But I can already see some good things in the contract that I didn’t think would be in there, and that’s pleasing.
I also contacted an agent I like, and I’m hoping I’ll get to work with her. I would be so relieved to hand the contract over to her! We’ll see how it goes.
So, it’s exciting, and it’s work–but it’s lovely, lovely work! (laughing) I keep wanting to shout “It’s real!” and “It’s really happening!” I’ve wanted this for so long. Especially for this book.
Do you know of any things to look out for in a contract? Do you know of any great articles or sites on the subject? If you do, please share.
I started excitedly telling people about my new (and first) YA hi-lo novel to be published, Brom’s Quest, in the Dragon Speaker series, and I’d have people say “What? Brom?”. That made me realize that maybe Brom’s Quest wasn’t the best title. Especially for reluctant readers!
So I mentioned it to the publisher, and he agreed. And he just came up with a title I *love*. The Last Dragon. So I think that’s my new title!
I thought the title was firmed up, and here I am, only a week and a day from having signed my contract, and we’re changing the title! But it feels right to do, and I feel happy about it. I want the best title–the best *book*–that I can create. I want something that will grab readers, not turn them away.
So–what do you think of the new title? Does it grab you more than the old one?
Ever wonder why the book you know someone just finished won’t come out until a year from now? I mean, come on! What more needs to be done?
Someone directed me to this post, which is very instructive. Don’t forget to read her editor’s comment, which sheds even more light on the process.
Technorati [...]
I’ve had a request from a client to put together a publishing dictionary of sorts, an explanation of publishing words and phrases that you hear or see all the time but aren’t always sure of the meaning. I’m not going to go into great details on the how and why of these words, simply a what. In addition to the words that were requested I’ve included a few of my own that I think sometimes cause confusion.
AAR: The Association of Authors’ Representatives is an organization of literary and dramatic agents that sets certain guidelines and standards that professional and reputable agents must abide by. It is really the only organization for literary agents of its kind.
Advance: The amount the publisher pays up front to an author before the book is published. The advance is an advance on all future earnings.
ARCS: Advance Review Copies. Not the final book, these are advance and unfinalized copies of the book that are sent to reviewers.
Auction: During the sale of a manuscript to publishers sometimes, oftentimes if you’re lucky, you’ll have an auction. Not unlike an Ebay auction, this is when multiple publishers bid on your book and ultimately, the last man standing wins (that’s the one who offers the most lucrative deal).
BEA: BookExpo America is the largest book rights fair in the United States. This is where publishers from all over the world gather to share rights information, sell book rights, and flaunt their new, upcoming titles.
Cover Letter: This is the letter that should accompany any material you send to an agent or an editor. A cover letter should remind the agent that the material has been requested, where you met if you’ve met, and of course the same information that is in your query letter—title, genre, a short yet enticing blurb of your book, and bio information if you have any.
Full: A full manuscript
Genre: The classification of books. Examples of genre in fiction include mystery, romance, science fiction, fantasy, nonfiction, and in nonfiction you might see business, health, parenting, pets, art, architecture.
Hardcover: A book printed with a hard cover.
Imprint: The name within the publishing house that the book is published under. Usually done as a way to market certain types of books. For example, Aphrodisia is an imprint of Kensington. It is still a Kensington book, but by publishing under Aphrodisia you are branding the book as erotic romance.
Literary Agent: A literary agent works on behalf of the author to sell her book and negotiate with publishers. A literary agent also helps with career planning and development and sometimes editing and marketing.
Marketing: Marketing is advertising that is paid for, including ads in magazines, display units in stores, and things like postcards or posters.
Mass Market: Also called “rack size,” these are paperback books originally designed to fit in rotating book racks in non-bookstore outlets (like grocery stores and drugstores). Mass market paperbacks are roughly 4” x 7” in size.
North American Rights: These are the type of rights licensed to the publisher, allowing the publisher only to handle and represent book rights in North America. This means that the author and the author’s agent are responsible for selling/licensing rights anywhere outside of North America (and usually a designated set of territories).
Preempt: When a publisher makes an advance and royalty offer high enough to take the book off the auction table. In other words, a publisher offers enough money that the author and agent agree that they will sell the book without asking for bids from other publishers.
Proofs/Page proofs: This is the last stage of editing that a book goes through. They are a copy of the designed pages, and the author is given one last chance to review the typesetter's “proofs” to check for typos or other small errors. Proofs are also what are used to make review copies for reviewers and sometimes rights sales.
Proposal/Partial: A proposal or a partial is frequently what an agent will ask for when taking a book under consideration. For fiction and narrative nonfiction a proposal usually includes a cover letter, a designated number of chapters from the book, and a synopsis. For non-narrative nonfiction a proposal usually contains an extended author bio, an overview of the book, an expanded table of contents, detailed marketing and competitive information, and of course sample writing material (usually a chapter or two).
Publicity: Advertising that is free. Publicity includes magazine and newspaper articles, radio and television interviews, and of course MySpace and other networking Web sites.
Query: A one-page letter sent to agents or editors in an attempt to attain representation. A query letter should include all of the author’s contact information—name, address, phone, email, and Web site—as well as the title of the book, genre, author bio if applicable, and a short, enticing blurb of the book.
Royalties: The percentage of the sales (monetary) an author receives for each copy of the book sold.
Sell-Through: This is the most important number in publishing. It’s the percentage of books shipped that have actually sold. For example, if your publisher shipped 100,000 books (great number!) but only sold 40,000, your sell-through is 40%. Not so great. However, if your publisher shipped 50,000 books, and sold 40,000, your sell-through would be 80%. A fantastic number.
Slush/Slush Pile: Any material sent to an agent or an editor that has not been requested.
Synopsis: A detailed, multipage description of the book that includes all major plot points as well as the conclusion.
Trade: To make it easy, trade is the shortened name for trade paperback books and is basically any size that is not mass market. Typically though they run larger than a mass market edition.
Vanity Press: A publisher that publishes the author’s work at the author’s expense (not a recommended way to seek publication by most agents or editors).
World Rights: When World Rights are sold/licensed to the publisher the publisher has the ability to represent the book on the author’s behalf and sell foreign translation rights anywhere in the world. Keep in mind that the author does get a piece of the pie no matter where the book is published.
Jessica
View Next 12 Posts
.jpg?picon=418)
.jpg?picon=980)
Oooo, best of luck to the author! I hope they get an offer. This is good stuff to know, and not something we often think about asking.
Congrats to this author, and thanks for sharing this, Jessica. For a lot of us who are as-yet unpublished, the whole submissions process is a bit of a mystery. The process of getting an agent seems fairly straight-forward in comparison. But since the ball is largely out of the author's court at that point, we often don't appreciate all that goes into the negotiations between the agent and publishers, and then within the publishing houses between editors, editorial boards, etc. before an offer ever comes back to the author (if one does at all).
A great question, and a helpful response.
Best wishes to the author!
Congratulations to the author! I hope everything turns out favorably.
I have a somewhat related question. I have an agent and my book was sent out to editors (who asked to see it after hearing my agent's pitch) about a month ago, before the holidays. I was wondering how long it usually take editors to read agented material. Weeks? Months? Anyone who knows, please let me know!
Congrats to the author! Here's sending good wishes your way for an offer.
Anon- in my experience it can vary when waiting to hear from editors depending on their workload, books they are already editing, how excited they are by the project, their relationship with the agent etc. It can vary from a week to several months. Your agent may have an idea of turn around time from the particular editors she/he selected. Also holidays seriously mess with publishing.
Best advice- start writing another book! It gives you something to do other than stalk your email and chew fingernails.
Jessica, Good explanation that demystifies the process a bit. Thanks for sharing.
And congratulations to the author in question. Sounds like you're close.
Preliminary congratulations! I'd assume that showing your manuscript to anyone is a sign of confidence, because given the volume of novels submitted for consideration, it's probably far easier to just pass on anything you have doubts on. It also makes sense that editors will seek second opinions given how tight things are in the economy still.
Great post!
Congratulations to the author. Hope it's all smooth sailing.