Interview with an Author Part 3

This week we’re wrapping up our conversation with a few authors by discussing what they’d do differently regarding their publishing careers and what tips they’d pass along to aspiring writers. You can read Part 1 here and Part 2 here. If you have appreciated their responses over the past few weeks, please let them know—Lisa Whittle, Jonathan Merritt and Leeana Tankersley. 

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WOULD YOU DO ANYTHING DIFFERENTLY IF YOU WERE STARTING OVER IN YOUR PUBLISHING CAREER? 

LW: No and yes. :) No, in the sense that I can see how God clearly orchestrated this path for me, as it was one I did not go looking for. Even though I cringe sometimes at the simplicity of my earliest writing, I love the way my books reflect my own growth and each in some way have helped people—so I can’t regret the sometimes bumpy journey.

Yes, in the sense of having a better understanding for the parts of the publishing business that make me uncomfortable at times (marketing, etc.) but are also completely necessary. I wish I had embraced them earlier on. I became an author before I grew an audience. That’s a hard, backward way to do things. So if I were to start now, I would start blogging earlier, pour more into my core followers from the start and watch the ministry grow from that.

JM: Yes. I asked my mentor, Margaret Feinberg, for advice a few years ago. She said, "Go write for the general market." At the time, I was writing mostly for Christian magazines and websites. I think Margaret knew how difficult it was to work within this niche and how little they pay. And I believe she also saw that my gifting and interest was broader than just the Christian market. I made the switch after that conversation, and it has really paid off. If I could rewind my career, I would have started writing for mainstream publications sooner. 

LT: Yes. I garnered my first book contract without an agent and I decided to forgo agency with that book. I assumed that an agent’s role was to help negotiate a contract, and since I was happy with the contract I had, I sort of felt like I’d just be parting with 15% of my advance, which didn’t seem to make sense at the time.

What I didn’t know then is that an agent—the good ones, like I have!—will stick with you through the entire publication process and help advocate for you and your work in the months leading up to release. A good agent will make sure there’s a marketing plan and a marketing budget and will be sure there’s an investment being made in your book so that the release will be as successful as possible.

I didn’t know all this until it was too late and, due to life circumstances (I had twins during the pre-release phase of my first book), a lack of knowledge about the process and the changing industry of publishing, and some significant turnover at my publisher, I was not able to adequately advocate for myself, and I believe the release of my book suffered as a result.

Shortly thereafter, I was introduced to Chris Ferebee, and he became my agent.

I have not looked back. Chris and his team have stood in my corner and navigated conversations I got to steer clear of. They have advocated for me and supported me in so many tangible and intangible ways, and I wish I would have had the foresight to reach out to Chris for that first book.

WHAT ONE TIP WOULD YOU PASS ALONG TO YOUR ASPIRING WRITER FRIENDS?

LW: Choose a mission statement over your writing early on (even if it’s of a secular bend or fiction) and drive down only that road of purpose. Never get off that road. Though you will change and your topics will change as you experience life, driving down that one road will be your constant and cut down a lot of confusion over things like: should I write this or that?

When you have a mission for why you write, the what of your writing will answer to it. It will help you stay encouraged in down times and give you that ultimate goal to always keep looking toward. It helps you self edit, as well, as everything answers to the question, “Does this support my mission?” If it doesn’t, it has to go. Purpose in writing is vital. It keeps you honest and from making your writing solely about you.

Press yourself to answer the deeper question—not just “I want to write beautiful things for people” but take it a step further—“I want to write beautiful things for people to help them feel joy.” Then go forward down the road of helping people feel joy, whether it’s through hearty fiction or writing about gardening or how to dress better. Always drive down your same mission statement road and it will keep you steady and focused.

JM: Don't stop writing. If you want to become a writer, you have to work harder than everyone else and you have to outlast everyone else. Each year, aspiring writers quit and go back to focusing on their day job. The ones who keep learning and keep working and keep plowing away are the ones who break through. I felt called to be a writer in 2004 and didn't publish my first article for nearly two years. That's three years of rejection. I didn't publish a book for another three years. Which is to say, I endured another three years of rejection. But I refused to quit growing, quit networking, and quit writing. And today, I've published more than 3,000 articles and am working on my fourth book. The road to becoming a writer is paved with discouragement, disappointment, and a dump-truck load of rejection. If a writer has the skill to succeed, they only need the will to succeed. 

LT: Work on your craft and not just your platform.

I am learning every day what it means to stop writing to please or protect or prosper or perform, and instead, to start writing to partner … with myself, with God, and with a tribe that has expressed interest in my particular way of seeing.

A disproportionate amount of airtime is given to the art/science of building a writer’s platform compared to honoring and honing his or her craft. Yes, an audience is essential. But what’s more essential, in my mind, is something to say and a clear, honest way to say it.

If you find that you don’t yet know what your truth is or you can’t bring yourself to tell it, then do the work necessary to help yourself become a more unified, congruent, integrated person.

As we have the courage to be more honest in our writing, in our message, in our material, we will find our own unique voice more clearly in the world, we will find a readership that truly wants to connect with our perspective and posture, and we will offer something important to the world—which is, a person congruent in their being who is making art. Whoa. That’s exciting and subversive.

Interview with an Author Part 2

Last week we introduced you to several amazing authors—Lisa Whittle, Jonathan Merritt and Leeana Tankersley—who described their writing process. This week they continue discussing writing as well as share what surprised them about the publishing process.

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WHAT DO YOU ENJOY MOST ABOUT WRITING? WHAT DO YOU DISLIKE MOST ABOUT IT?

LW: I love the process of seeing the book unfold and turn into a complete heart offering. I see it much like painting a picture, which at first doesn’t look like much, but in the end, it’s a beautiful creation. I love the idea that the words God uses my fingers to write will help people—that always blows me away. Most of all, I love what happens between God and me while I’m writing and how He teaches me things I desperately need to learn.

I dislike the headspace I have to pop in and out of in order to still do daily life in the midst of trying to create. Coming in and out of writing is hard for me—I get consumed by a thought and then suddenly, I have to go to my son’s ballgame and have small talk with people. I find that challenging! 

JM: I like the freedom. Every occupation has trade offs. If you're a writer, you're probably giving up money. Writers don't make tons of cash, especially at first. If you're a writer, you're probably giving up security. Most writers don't have a regular paycheck. If you're a writer, you're probably giving up serenity. The job is hectic and you'll attract your share of haters. But if you're a writer, you'll gain a measure of freedom. If you value that—and I do—then you might enjoy being a writer. 

LT: When I was 9, my parents divorced, and somehow I could not shake out that experience any other way than writing. I was intuitively drawn to writing, which both comforted me and saved me. I wrote poems about huge Clydesdales. I wrote about my broken heart even though I don’t think I realized it was broken. I was in shock and my system was stunned and I wrote.

Whether it was my own words or the words of someone else, I have been met so deeply and entirely by words. Certain voices and books have whispered my own truth to me when I could not name it for myself. I have laughed and cried along with perfect strangers through the portal of narrative, which always serves to remind us of both our wounds and our wonder. And I can think of no greater honor than to get to do that, too. To offer the simple loaves and fishes of my life and see if there might possibly be a moment of divine multiplication and nourishment that occurs. This is what art does for the human soul. Through truth and beauty, art sets us free. It saves us: word by word, image by image, line by line. God, I love that.

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Working alone is probably writing’s biggest gift and biggest curse for me. I think God is often trying to get me to hush and stop squirming and retire my thinking cap that I am so attached to. He wants to partner with me in this work, but I am so often wanting a white board and a strategic plan and long boardroom table full of really smart people who can figure out my entire career for me.

Instead, God uses writing to quiet me down—which I both treasure and resent.

Over the years, God has rallied an incredible team around me and continues to do so. Agents, editors, readers, a therapist—it takes a village. And so I’m making peace with the solitary time—even though it’s not my first instinct—because I know it’s one of the ways that God gets me to hold still.

WHAT HAS SURPRISED YOU MOST ABOUT THE PUBLISHING PROCESS? 

LW: How much of an intricate process it really is. It’s a lot of waiting, more waiting, and working diligently on all ends. Writers sometimes have a hard time saying we have a “real” job when we write books. Writing books is a business and a job, like everything else. I realized that fairly quickly when I began to write. I don’t have trouble saying I have a job anymore.

JM: How long it takes. I think most people who are unfamiliar with writing assume that books pop onto shelves in a matter of months. Not so. Most books take 18 to 24 months to create. Some take longer. The author has to come up with a good idea, turn that into a professional proposal, find an agent, shop the project to publishers, wait for offers, negotiate a contract, research and write the book, endure the editing process, and then navigate the tricky waters of marketing, publicity, and sales. It's grueling. Writing is not for the faint of heart or the impatient. 

LT: The publishing process requires a multitude of skills. Sometimes it feels like writing is 5% of the job and the rest is a magic combination of marketing, promoting, publicizing, speaking, selling, pre-selling, appearing, blogging, tweeting, posting, boosting, networking, filming, recording.

Truly, all of those efforts are required, and I think some people find this very energizing, but I tend to find this confusing. I’ve been surprised at how turned around I feel sometimes, unsure of where to put my best energy.

Interview with an Author Part 1

As literary agents, we work with quite a few very talented authors. While we’ve been talking about the proposal process from our perspective, we thought we’d interview a few of our authors to share about their actual writing process as well as their own unique publishing experiences. Below is part 1 of 3. Enjoy.

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Lisa Whittle is a natural leader and bold thinker. Her refreshing, bottom line approach appeals to audiences across the nation as she points them to a passionate pursuit of God. Lisa is the author of 6 books, including her latest, I Want God (2015), and her forthcoming: Put Your Warrior Boots On (April 2017) and 5 Word Prayers (Fall 2017). In addition to speaking, media appearances and writing for Women of Faith, Catalyst, Relevant and various other high profile blogs and publications, Lisa has done master’s work in Marriage and Family and advocates for Compassion, International. Lisa is a wife and mother of three currently residing in North Carolina. You can find her at www.lisawhittle.com.

Jonathan Merritt is an award-winning writer on religion, culture, and politics. He currently serves as a contributing writer for The Atlantic and senior columnist for Religion News Service. Jonathan has published more than 2000 articles in outlets such as USA Today, National Journal, The Week, The Washington Post and Christianity Today. As a respected voice, he regularly contributes commentary to television, print, and radio news outlets and has been interviewed by ABC World News, NPR, CNN, PBS, MSNBC, Fox News, CBS’ “60 Minutes” and The New York Times. Jonathan is author of three critically-acclaimed books, including Jesus is Better Than You Imagined and A Faith of Our Own: Following Jesus Beyond the Culture Wars, and has collaborated on or ghostwritten nearly 30 additional books. Jonathan resides in Brooklyn, NY. Find him at www.jonathanmerritt.com. 

Leeana Tankersley is the author of Brazen: The Courage to Find the You That's Been Hiding (2016), Breathing Room: Letting Go So You Can Fully Live (2014), and Found Art: Discovering Beauty in Foreign Places (2009). She and her husband, Steve, live in San Diego with their three kids: Luke, Lane, and Elle. Learn more about Leeana’s work at www.LeeanaTankersley.com.

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What is your writing process like? Has it changed from book to book?

LW: It always starts in the same way: a thought, something I’m learning, or a recurring theme in my own life, research online through social media and a blog (to see if people are feeling the same way or have the same need or issue), building the structure of the book (title and chapters), taking notes on my phone from daily thoughts, observations and inspiration from the Lord as they come, randomly, plugging it into the book, then going back through, reading for flow, saying it better, and general editing.

I’m a stretched mom of three with a busy speaking schedule and daily life, so when I write depends largely on the season (for example, summer with the kids at home is a hard time for me to keep a strict writing schedule). I’ve learned to write fast when I have a dedicated chunk of time, and thankfully, the Lord has been faithful to show up with the inspiration much of the time.

But I’ve also experienced what every writer has at one time or another—the dreaded writer’s block, which I’ve learned to embrace and wait for a better day with better words instead of pushing something that isn’t going to work, anyway.

This has always been my process, though the initial thought has been sparked in different ways and under different circumstances. I can honestly say I’ve never gone into a book with the thought, “I’m going to write a book.” It’s always a spark in my heart and mind that eventually turns into a book, based on what I sense others also need to hear.

JM: It has definitely changed over time. I've really moved from a "concept-driven" approach to a "content-driven" approach. That is, I try to start with the content I have—stories, points, thoughts, experiences—and form a book out of that. I used to start with an interesting concept and then go find content to fill in the gaps. Most writers I meet have concept-driven processes for books, but those books are far more difficult to write. 

LT: I’ve learned how to hold my own hand through the writing process, developing tricks that work well for me. Here are a few:

- I always pre-arrange assignments with myself.

I never sit down at my computer without pre-arranging an assignment with myself first. If I don’t have an assignment before I sit down, I will waste so much time and energy getting started that I will exhaust myself before I’ve even begun.

I have material, noticings, stories, snippets, phrases, ideas I have collected and I know which one I’m going to tackle before I even sit down. Whether I am writing a chapter for a book, an article for a magazine, or a blog post, I do not sit down without a starting point. It’s just too painful and agonizing and depressing to sit there trying to come up with something that will not arrive. This is a great way for me to sabotage myself and the process.

So, I identify one story I’m going to write that day. Or I identity one concept I want to explore. I use my writing time that morning to get as far as I can on my assignment. Often that will lead to the next assignment.

- I compose and edit separately.

I compose on my laptop and I edit on a hard copy. I am a major disciple of composing and editing as completely separate steps. In fact, I’ve been told these two parts of the writing process call on different sides of the brain, so it makes sense that it would be highly troublesome to try to do them both at the same time.

I’ve become more disciplined, over time, about composing as freely and openly as possible, knowing I will come back later with the paper and pen. I find it incredibly satisfying to reward myself for composing by getting a fabulous pen for editing. Bribing is also a major part of my process.

- I get the book in front of me visually.

Books need both a big idea and content to support that big idea. I have found that if I don’t work on establishing both of those elements, I lose my way and the process becomes convoluted. So I use sticky notes to write down the big idea holding the book together and then I write one sticky note per idea or story that will support the big idea. I fill the sliding glass doors in my dining room with these sticky notes and then I pull one off and that sticky note becomes my assignment for the day.

This process has helped me see the entire book in front of me, allowed me to arrange and rearrange easily, and has provided bite-sized assignments that feel doable and never leave me staring at a blank screen (which = death, if I haven’t already mentioned that). 

The biggest difference about my process now, having recently released my third book, compared to my process with my first book is that I panic less now. I’m not saying I am free from panic, but I trust the process more now. I know that I have an incredible team around me that wants to help my work find an audience, and I know that I can get a book done. I know where I’m going to face murkiness, pitfalls, detours, and frustrations. And I try to get help when I’m hitting up against those places.

Will a Publisher Consider My Self-published Work?

What do The Shack, Jesus Calling and 50 Shades of Grey all have in common? Their respective commercial trade publishers have sold millions of copies of each, and they all started out as self-published works. So the easy answer to the question, Will a publisher consider my self-published book, is "yes." But you knew it would be more nuanced than that.

We have written previously about how self-publishing might fit as a strategic part of your overall publishing strategy. But the purpose of this post is whether you can transition a trade book from self-published to commercially published. The key to this answer is, you guessed it, platform.

As self-publishing and the online sale of books have significantly increased, the amount of available physical retail space allotted to books has significantly decreased. There was a time when a publisher or retailer could choose a book they absolutely loved and make it a bestseller. When the only place to buy books was in a physical retailer, those books could be positioned in a way to make them successful. But as shopping habits of readers have changed, moving largely online, and available retail space has shrunk, publishers and booksellers have largely lost their power to do this. It's not impossible, but it's significantly harder. So far, there is no digital equivalent to stacking 50 books on the front table of every major bookstore.

The primary reason an author's platform has become so important today is because of this reality: Readers don't follow publishing companies and, outside certain technical fields, don't read every book published in their preferred genre. Discovering good new books is downright impossible in an online environment. Hence, readers follow and pay attention to their favorite authors, or a short list of friends or influencers whose opinion they trust. Your "platform" is the specific audience and channels of influence you have cultivated that will pay attention to your content.

So will a publisher consider your self-published work? Well, what do the sales of your self-published work say about the size and health of your audience? Whatever reason you decided to self-publish, you now have a tangible example of the size of your platform. If you've sold 47 copies, you don't get to blame it on self-publishing and assume a commercial publisher will make you successful. They won't. And they won't consider your self-published work.

But if you've sold tens of thousands of copies of your self-published work or, if you can show significantly increasing sales month over month or year over year of your self-published work, then a commercial publisher will pay attention. 

A commercial publisher can basically do one thing for you as an author. Whatever your personal reach is, they can amplify it. If you have a significant reach, the amplification will be significant as well. If you have a small reach, the amplification will be also. Yes, they bring editorial expertise, and market knowledge, far greater distribution than you can obtain on your own (even through Amazon), marketing and publicity relationships, etc. I'm not downplaying the role of a commercial publisher, but it all amounts to amplification of the audience you already bring to the table.

If you want to know the size of your audience, self-publish a book. You'll know pretty quickly whether you have work to do or not. Commercial publishers will absolutely consider your self-published work if it's successful. They're looking for good bets. But self-publishing doesn't get you off the platform hook. It will just be a tangible example of how successful you've been cultivating an audience for your work.

If you have a question for our Ask an Agent series, you can submit it here.

Interview with an Acquiring Editor - Part 3

This week we’re wrapping up our conversation with acquiring editors and publishers by discussing their hurdles and what they wish authors knew. You can read their backgrounds in Part 1 here and what they specifically look for in proposals in Part 2 here.

What's your biggest hurdle in publishing the projects you love?

SMITH: Tastes are subjective, so while a particular book might be a passion project for me, it becomes my responsibility to spark the same passion in my publishing team and sales force. This is a creative challenge and a good one to have, but I am reminded often that everyone has their own unique tastes and they don’t always align. For the projects that instantly click with our team, we can accomplish great things together. For the projects that receive mixed reactions, it requires more work and creativity to gain necessary support.

ALLEN: Other publishers. We work in a stable industry amidst fine folk who are employed by other publishing houses. For the most part we all know a good book when we see it, and we’re willing to compete aggressively to get it.

WONG: Platform. It is increasingly important for authors to come with a somewhat developed personal platform that publishers can come alongside and amplify. Often when I’m feeling torn between my personal passion for a project and my responsibility to the company, platform is somewhere in there as a factor. That’s not to say that we don’t, every now and then, make exceptions, but they are, at the end of the day, exceptions to the rule.

What do you wish potential authors knew about your job?

SMITH: We are for you more than you know! At Zondervan, we have a fairly intensive review process comprised of three team meetings: editorial, marketing, and sales. It’s my job to tailor each presentation to each audience, so these three teams are essentially the first real customers of your book. I need their support to make a solid book offer! So I view my role as a champion for your project, even though you will never see most of this behind-the-scenes process. Before a potential author and I ever have a phone call or meeting, there is a significant amount of discussion, planning, editing, and presentations that happen on behalf of their book.

We are certainly selective and not every project is the right fit, and I know this can be discouraging to aspiring writers. We do not enjoy turning down projects and are quite familiar with being turned down by authors ourselves. But if you are word person, I am cheering you on. Every time I meet a prospective author, or open a new proposal attachment, this is not an imposition—I am hoping to be wowed by a voice, an idea, or a story that the world needs to hear.

ALLEN: I would want authors to know that my job is to publish books that have a real chance in the marketplace. If we as a publisher fail to do this, we will cease to exist. Generally publishing pros are not selective because they’re mean. (Some of us probably are mean, but I doubt that’s what drives our selectivity.) We’re selective because we need to be to survive in this industry, let alone thrive in it.

Publishing is two parts art and one part business, but the business part is definitely there. And so I want potential authors to know that effort and ingenuity really matter. Desire matters. And desire that goes to work—the work of developing a great concept, the work of building a substantial platform, the work of crafting compelling writing—matters even more.

WONG: As the acquiring editor, I am your frontline champion from acquisitions through publication. Whenever I point out an area that needs strengthening or clarifying, from concept to structure to positioning to title discussions and beyond, it’s because I want to give your book its best shot at success. Often, I am navigating the concerns of various parties on the publishing end of things—marketing, publicity, sales, retailers, etc.—so I’m not making suggestions or asking you to rethink things on a whim. There is much more behind what I ask you to consider than you might be aware of on the surface. So if I’m asking tough questions and making suggestions to you at proposal stage, I’m investing in you already.

Thank you so much, Stephanie, Chad, and Jessica, for sharing your expertise and heart with your authors and our readers!

Interview with an Acquiring Editor - Part 2

Last week, we introduced you to several acquiring editors and publishers who gave us their backgrounds on how they found themselves in the publishing field. This week we’re going to discuss what they specifically look for in proposals.

How many proposals do you review on average in a month? What percentage do you actually publish?

SMITH: Since the majority of proposals come my way via agents, I (intentionally!) don’t receive volumes of unsolicited proposals. Over a month I might review 15 or so proposals and I might take on 3-5 of those to shepherd through our review process. Our rule of thumb at Zondervan is that if you’re not passionate about it, if you have to think twice about it, it’s probably a pass. You hear so much about the nuts and bolts of concept, platform, marketing viability, etc., but the importance of a team’s passion for a book is not to be underestimated! So you can bet that the proposals we do take to pub board and the ones we are actively championing.

ALLEN: Counting only proposals I personally receive, I review at least 10 proposals per month, many more than that if you count those I review via my editorial colleagues. My personal goal is to acquire and publish 15 books per year. The division I head up is shooting for about 60 new books per year; altogether we review (I’m estimating) at least 400 proposals a year.

WONG: It varies depending on the time of year. In the busy seasons, I’m reviewing approximately 15 proposals each month. In the slower seasons, it’s closer to 10. We end up publishing just about 10 percent of those proposals on average.

What are the key things you look for in a proposal in order to keep reading?

SMITH:  One of my favorite questions to ask authors is: What is the boldest statement your book has to make? I call this the angle—it’s fresh, counter-intuitive, even a little provocative—and generates that double-take reaction which is of every importance to stand out among the many books on the shelves today. The more specific, the better. When I see a strong angle playing center stage in a proposal, when the author doesn’t make me go hunting for it, you have my full attention. And my day is made.

Like all readers, I’m looking to be moved. As immersed in content as I am, I’m not immune to it! A stellar story, a sentence I can’t help but underline, an idea from your proposal that shifts my perspective and I want to tell my husband about over dinner—that’s what makes me want to keep reading. It’s the fresh factor, which I’m convinced only comes about when a writer is willing to dig in and do the work.

Another thing I love to see is a writer who knows and owns their voice, which comes through practice and the decision to stop imitating even their favorite writers. Whether that voice is sassy and side-eyed or poignant and poetic or something else entirely, it’s a beautiful thing to behold when an author writes out of their uniqueness with confidence. 

ALLEN: Concept, platform, writing.

A great concept is fresh in some way and meets a real need readers have.

Platform is an author’s ability to help us get the word out about their book.

Good writing keeps me reading even when I have a thousand other things to do.

WONG: There are three main components: (1) a fresh, compelling concept that will make readers think, “Yes, I need this book!” (2) thoughtful writing with a distinctive voice that draws readers in, and (3) a platform the publisher can creatively leverage in collaboration with the author for a strong book launch.

What are some of the things you see in a proposal that immediately make you turn it down?

SMITH: Generalized and overblown statements that show an author hasn’t done their research. For example, “There’s never been a book on this topic before!” when I can point to several recent examples. A missing angle or a concept that feels underdeveloped. Too many “I” statements in the writing and a lacking effort to write inclusively and invitationally toward the reader. This is even more important for memoirs which we get so many proposals for: if you are writing for yourself, that’s important and not to be discounted, but it’s not ready for proposal status until you begin to write to serve your readers. It’s easy to spot a proposal that has not yet evolved out of that initial catharsis stage.

ALLEN: Unoriginality, fiction, and lack of platform.

WONG: Muddled thinking and lack of polish. I’m often looking for the proposal to demonstrate clarity of thought, because even if you have the most compelling concept, if you can’t communicate it clearly, it’s that much harder to reach readers who must understand and be drawn in enough to buy the book in the first place. In terms of polish, I would hope that the proposal would be clear of mistakes, would not demonstrate a lack of understanding of the market, or have too much missing standard material. All of this highlights to me that you have not done your homework to put your best foot forward.

Check back next week, as Stephanie, Chad, and Jessica answer a few final questions about what they wish authors knew about the publishing process.

Interview with an Acquiring Editor - Part 1

As literary agents, we demand a lot out of our authors as they’re putting together their proposals. Our job is to make sure we present all the information publishers need to make a decision to publish our clients’ books. Editors do a lot more than simply decide to publish a book and then edit the manuscript, so we decided to interview a few of the best in the industry so you can hear directly from them.

First, here are their quick bios.

Stephanie Smith is committed to partnering with authors to bring fresh, forward-thinking ideas to life to serve the church today through her role as acquisitions editor at Zondervan. She lives with her husband in Michigan, where she is pursuing her masters in theology at Western Theological Seminary in addition to editorial work. Find her on Twitter at @heystephsmith and join her monthly email newsletter for writers aiming to find their angle, write like they mean it, and do it in style at www.slantletter.com.

Chad Allen is editorial director for Baker Books, a division of Baker Publishing Group, where he has worked for over a decade. Chad is the author of Do Your Art and the creator of the Book Proposal Academy. Chad holds a B.A. in English from the University of Nebraska-Lincoln and an M.A. in Theology from the University of Notre Dame. He and his wife, Alyssa, live with their two children in Grand Rapids, Michigan. Hear more from Chad on his blog or by following him on Facebook and Twitter at @chadrallen.

Jessica Wong is the senior acquisitions editor at Nelson Books. She has worked closely with a number of bestselling authors to sharpen and develop their content. She holds a B.A. in English linguistics and is also an alumnus of the Yale Publishing Course. Her passion is providing a guiding hand to authors with eternal and truly impactful messages in order to help them reach and touch as many lives as possible.

Second, here is how they found themselves in publishing. Whether always knowing you were made for it, falling into and deciding to never leave, or being attracted to it from the other side, the journey into this magnetic business is telling.

SMITH: I started out on the opposite side of the printer in book publicity. While I had always aspired to join editorial, I am so glad to have had the opportunity in PR to gain the skills needed to identify what media wants in a story and headline. I use these skills every day in a retroactive way, as I review proposals and mine book concepts for just the right hook to get people talking. The trick is to work in a strong angle from the very beginning of the book’s development, and a PR eye is helpful in this.

Transitioning from publicity, I joined the team at RELEVANT magazine as an editor and led efforts to revamp the web editorial strategy. The beauty of digital publishing is that it affords you the opportunity to tap into whatever conversation is trending right now (this doesn’t work so well in book publishing, which is a much longer process!). Success starts with listening—in real-time—to what readers are hungry for: what articles they’re responding to, what they’re sharing, what conversations they’re having, what questions they’re wrestling with. It’s a live experiment every day, and it’s rewarding to go out and create the content that they most need.

The beauty of book publishing, in a different way, is that you have the luxury of time to go long and deep with a concept. The journey is a long and rewarding one, and I am drawn to it because I have been so shaped and sustained by books in my own life. Most of all, I get to be in the journey with such great company! The best part about my job is working with authors and partnering with them to bring their ideas to life at the brightest they can be. It’s a privilege to pour so much into books that in turn pour so much life into readers.

ALLEN: I was exposed to the publishing process when back in the late nineties I worked with Douglas Gresham, general consultant to C. S. Pte Ltd, the company that owns the rights to C.S. Lewis’s work. All the new editions, compilations, and abridgments of Lewis’s work went by Gresham’s desk. So suddenly I was plunged into the world of galleys and proofs and all the guts of making a book. I remember Gresham asking for my input, and I was immediately hooked.

What I saw among other things is that publishers carry this enormous burden and honor of influencing the final shape and content of a book. It’s astonishing, isn’t it, that we get to have a hand in the making of a book—an idea bomb (general nonfiction), a life-changing story (memoir), a potential miracle in someone’s life (self-help)—that will go out to thousands, sometimes millions of readers? That mesmerized me. Still does.

WONG: I was the child simultaneously enrolled in multiple library summer reading programs who mastered the art of reading while walking during recess. I decided in fourth grade that I wanted to be an editor when I grew up and asked all my teachers along the way how to get there. After graduating from college, I attended the University of Denver Publishing Institute and, shortly thereafter, got my first job in publishing at Thomas Nelson. Since then, I’ve spent time at Howard Books, the Christian imprint of Simon & Schuster, graduated from the Yale Publishing Course, and returned to join the team at Nelson Books.

Check back next week, as Stephanie, Chad, and Jessica answer the questions you want to know as you’re crafting your book proposal.

What's the Difference Between Marketing and Publicity?

Curious about the difference between marketing and publicity? One of the earliest explanations I remember hearing, maybe even as far back as college, was this: Marketing is bought and paid for; publicity is sought and prayed for.

To dissect that a little further, marketing is placement that is paid for on TV, radio, newspapers, magazines, websites, blogs, etc. This placement can be an ad, advertorial, promotion, a blog tour or more. Another easy way to think about marketing is that it is guaranteed placement.

Publicity, on the other hand, is not purchased placement. It’s obtained when a publicist pitches your book to TV, newspapers, magazines, radio, websites, podcasts, etc. for coverage or review. Coverage depends on several things, including a publicist’s relationships, the quality of the content being pitched, and timing.

Don’t think though that publicity is FREE. The actual space or coverage might not have a price attached to it, but it often comes to fruition following tireless hours of pitching, follow-up and relationship building along the way. A good publicist is always worth their fee.

In the publishing industry, the publicity department often sits under the overall umbrella of marketing. Thus, when the marketing representative at your respective publisher refers to the marketing budget, they are including publicity.

A well-rounded launch campaign for a book will have components of both marketing and publicity. If both are done well, they should complement each other and in turn bolster the sales of a book. 

For more on publicity, see my interview with a publicist here.

If you have a question for our Ask an Agent blog series, you can submit it here.

How Long Does It Take to Find a Publisher?

When discussing the timeframe for securing a publisher, the process can vary greatly from project to project, but below is a basic timeline. My assumption is that you have a complete proposal that your agent is ready to submit. Our agency has occasionally received a new proposal ready to shop right from the beginning, but more often than not, we spend weeks, if not months, with our clients just on the proposal. As we've described before, this is your chance to put your best foot forward and we take it seriously. But once you have a proposal complete, what's the process and how long does it take? 

We work with our clients to establish a list of publishers to submit the finished proposal to. For a typical author without a pre-existing publishing relationship, this process takes a day or two. We always want our authors to be fully aware of who we are presenting their proposal to and why, and so we take the time to share this list, but this obviously isn't a time-consuming process.

Once the proposal has been on submission, we typically request publishers to provide a substantive response to us within 4-6 weeks. This will vary based on time of year and typical vacation periods within the industry, but your potential publisher needs this time to accomplish the following:

• The editor will review the proposal herself, and may have questions or need additional information from the agent or the author; 
• The editor will prepare their own internal document, which is then shared with colleagues, assuming the editor wants to present the proposal to a larger team for acquisition; 
• The editor will first present the proposal to an editorial committee, typically consisting of other editors and the publisher, which meeting typically occurs 1-4 times per month; 
• If the proposal makes it past the editorial committee, the proposal will then be presented in a meeting to the publishing committee, which will include marketing and sales representatives, and typically takes place once or twice per month; 
• If your proposal makes it past both committees and is approved for acquisition, then your editor needs to obtain sales projections from the sales team, prepare a pro forma of anticipated sales, foreign rights and other licenses (basically all potential income), and obtain approval for a specific offer (the amount of the offer will often dictate additional rounds of approvals); 
• At this point, the editor will submit a formal offer to your agent. 

This entire process usually takes 4-6 weeks, and can occasionally take longer for one or two of the publishers your agent has submitted to, depending on when their meetings take place. 

Once your agent has obtained all initial offers for your proposal, there may be additional rounds of discussion or negotiation with regard to the initial offers, sometimes with multiple publishers at once, sometimes with one specific publisher. But again, because of the approvals process internally, this can often take another 1-2 weeks. 

When you and your agent have decided to formally accept an offer, you then have to negotiate the publishing agreement. The amount of time it takes for the publisher to provide an initial draft of the publishing agreement can vary widely. Some publishers can provide this within 1 week, and others take 4-6 weeks, but this too will often depend on internal schedules and other work at the time. It then can take anywhere from another 2-4 weeks to accomplish the negotiation on your publishing agreement and route the agreement for signatures. 

All told, this can feel like an interminable amount of time. But you should expect this process to take roughly 3-5 months from the first date of submission to actual execution of a publishing agreement with your new publisher, taking into account all of the above. There are always exceptions, but unfortunately those exceptions lie on both sides of the time table. 

What Should I Say in the Bio Section of My Proposal?

We were recently asked about what specifically should be included in the author bio section of your proposal. While it does sound a bit foreign as you’re writing it, the standard is to write it in third person. This might also make it a bit easier to talk more about yourself. As we’ve said it before, your proposal is not the time to be modest. 

Start with your writing credentials—your previously published books or those you’ve contributed to or even articles online. Next move to relevant information. If you’re writing on a specific topic, is there anything you’ve done that makes you an expert on it or gives you credibility? List any degrees or schooling or workshops you’ve taught or even volunteering opportunities that are relevant. Finally, include personal information, like where you live and your family details.

The key with an author bio is to keep it professional as well as personal. Those reviewing your proposal like to be reminded that you’re a real person who is qualified to write. It’s also helpful to have a long bio for your proposal but to have a short one on-hand too, in case it’s requested. That’s the bio that goes on the back of your book or included in any interviews.

I recommend taking a look at different authors and see how they handle their bios. What’s on the back of their book and at the end of online articles? What do they include on the author section of their blog? Does it make you want to read what they’ve written?

Finally, when you’re done with your bio, check out some additional things you can include in your proposal to help the publisher get to know YOU better—things like an author photo and/or video.

If you have a question for our Ask an Agent series, you can submit it here.

What Added Value Items Should You Include in Your Proposal?

Over the last few weeks we have been blogging about the various sections of a book proposal. Beyond all the standard sections that need to be included (Title/subtitle, Synopsis, Table of Contents and Chapter Summaries, Sample Chapters, Platform) there are some added value items writers can include to enhance their overall proposal.

They are:
* A designed proposal
* Photographs
* Author video

Oftentimes, we work with our clients to have their proposals designed once the content has been finalized. This allows for a visually pleasing document to be sent to publishing houses for consideration, rather than a plain text document. Editors receive stacks upon stacks of proposals and a designed proposal stands out from the crowd. It’s also another way for an author to showcase their overall style or brand and personality.

Including an author photo personalizes the content even further and allows for an editor to put a face with the content. If you also have an active speaking platform, or perhaps you lead a small group, or you do one-on-one coaching … including additional photos of you in action in your element will add even more depth to your platform.

And last, but not least, when it makes sense and the author has the ability, they can include a short (never more than 2 minutes) video where they share their heart behind the book. This provides yet one more way for an editor to connect with the author and suddenly they become more than just a name or an image on a page.

If you have a question for our Ask an Agent series, you can submit it here.

What Should Be Included in the Platform Section of a Proposal?

Everybody hates talking about platform. We get it. We do too. But the reality of publishing today is you have to be building one. For reasons we'll tackle in a later post, the ability of a publisher to "make" a bestseller has diminished. The unfortunate reality is that most books are sold to the author's audience. The platform section is where you describe how you intend to reach an audience with your message.

Your starting place is your own, actual platform. How many Facebook fans and friends do you have? How many Twitter followers do you have? How many Instagram followers do you have? Do you have an e-newsletter, and if so, how many subscribers? Started a podcast? How many downloads are you averaging?  Do you speak? How often? What size crowds? Basically, you want to describe in detail every point of contact you have with your audience.

To take this a little further, you should also drill down into audience engagement. What is the typical ratio of engagement with the things you share? Do some analysis into how engaged your audience is with your content. What's the open rate on your e-newsletter? What's the percentage of likes and retweets you receive on average per tweet? How many likes and reposts do you receive on your Instagram posts? A small following with significant engagement is far more valuable than a massive following with no engagement.

Next you want to provide information about the networks of influence you have access to. This is not a place to list every person you wish you could reach, or you hope will lend support. This is supposed to be the list of people you can count on. Provide their name, organization if applicable, and their specific reach.

Finally, where else have you written? Have you published previous books? Which books, what year, what publisher, and how many sales? Have you contributed articles? To what outlets? Have you written a chapter in another book? Which book and chapter. List your prior publishing here. 

The tendency here is to be modest, or to downplay your actual reach. Don't. You want to be as detailed and specific as possible. This is your chance to convince an agent or publisher that you actually can bring an audience to your idea.

Have a question for our Ask An Agent series? You can submit it here.

What Should Your Book Outline Include in Your Proposal?

As you’re developing your proposal, it’s important to include information about your manuscript, but what exactly should it encompass?

Agents (and publishers) are looking for a book outline, something that will walk them through your book structure. A list of potential chapters is good, but if you’re trying to show movement when writing, having defined sections is important. Even if your book has an informal tone and is written in essay form, don’t discount the journey you as the author will be taking the reader on. Look at each chapter and see if you can identify some larger themes they would fall under and organize it that way.

For example, this is good:

Chapter 1: Title

Chapter 2: Title

Chapter 3: Title

Chapter 4: Title

Chapter 5: Title

Chapter 6: Title

Chapter 7: Title

Chapter 8: Title

Chapter 9: Title

Chapter 10: Title

Chapter 11: Title

Chapter 12: Title

Yet, the following may be better for a nonfiction manuscript (even if it doesn’t end up with parts in the final manuscript) as it clearly spells out the themes and movement for the agent/publisher.

Introduction: Title

Part I: Title

Chapter 1: Title

Chapter 2: Title

Chapter 3: Title

Chapter 4: Title

Part II: Title

Chapter 5: Title

Chapter 6: Title

Chapter 7: Title

Chapter 8: Title

Part III: Title

Chapter 9: Title

Chapter 10: Title

Chapter 11: Title

Chapter 12: Title

Conclusion: Title

Obviously, don’t force it if it doesn’t make sense in your manuscript, but as an agent, I personally appreciate when an author has thought through their manuscript this much and can identify more than their overview. You need to let us know how you’re going to achieve this.

Think of your outline like a map. You know the destination you want the readers to arrive at, but you need to include directions in order for the readers to get there. There could be different ways to do so, but as an author you want to take the readers on a specific journey.

Following the table of contents, proposals usually include chapter summaries. While you don’t have to have your entire manuscript written at the proposal stage [see here for more], you do need to know what each chapter is about. This can also look differently. Some authors may include a paragraph. You could also highlight themes, stories, etc., something like this:

Part I: Title

This section is going to touch on this theme.

Chapter 1: Title

This is your one-sentence description.

Topics to include: topic 1, topic 2

Stories to include: story 1, story 2

Again, while your entire manuscript doesn’t have to be written, you need to be able to convey to agents/publishers what you’re writing about and the map of how you’re going to get there.

One last piece of advice: While I’m very pro-plan when putting your proposal together, I absolutely understand chapters can take a different direction when you actually sit down to write it. Don’t be a slave to your map as your writing may want to take the scenic route, but do keep your publisher and editor informed if you change directions and you’re under contract.

Have a question for our Ask An Agent series? You can submit it here.

What's the Single Best Way to Develop a Good Relationship With Your Publisher?

One word: COMMUNICATION

Just like in any relationship, be it friendship, business, marriage, etc., in order for a good relationship with your publisher to be healthy and to flourish, there needs to be good communication.

Publishers love authors who communicate with them on a regular basis about what they are doing, what they have planned and what’s changing. It allows them to stay current on their plans for you and your book release and promotion.

Never assume that the team at your publishing house has time to read every blog, or social media post you make. The reality is that they don’t. They have a long list of authors they are working with and are trying to balance all the demands of their job. When you communicate things of importance to them, not only are you making their job less difficult, you are also bringing their focus back to you. And let’s face it: the old adage of the squeaky wheel getting the grease is true.

Communication is key in every step of the process. Starting with your editor, if you are working on your manuscript or through the edits and things are going great let them know. If you are having difficulty and know there’s no possible way of meeting the deadline, communicate that sooner rather than later. When you don’t, you not only cause a breakdown in the relationship, you also cause a log jam in the editor's schedule of work.

When it comes to marketing and publicity, communication can be the difference between having a positive or negative experience with the launch of your book. More often than not, a marketing and publicity team has more on their plate than they can say grace over, and it takes a lot of effort to keep all the plates spinning. By nature of the workload, when they don’t hear from you, they can easily think that everything is going great. Their attention is focused on the authors who are in regular communication with them. And when an author is in communication with the publishing house, in turn the team is in communication with the author thus making the author feel taken care of.

One last word of advice: always, always communicate your appreciation to your publishing team! A note of gratitude from an appreciative author goes a long way. And speaking from experience, it can often mean going the extra mile for that author.

If you have a question for our Ask An Agent series, submit it here.

Sample Chapters in a Proposal

When putting together a nonfiction proposal, it’s important to have sample writing, but not your entire manuscript--unless specifically requested [see here for the reason]. So how many chapters should you include?

A good rule to follow is to include the introduction along with chapter one and two. That said, there are often reasons to deviate from this.

I often guide authors to submit a good sampling of what their actual manuscript will look like. For example, if you spend the first section discussing history or research in your manuscript, then also include another chapter or two from the middle of your manuscript so agents/editors can evaluate your writing from your other sections as your tone and subject matter will be different.

If your chapters are on the shorter side, you may want to include more so agents/editors can view more of your writing instead of just a few pages.

A few things to keep in mind:

• Your proposal as a whole (including sample chapters) should not be more than 50 pages or you run the risk of the entire thing not being reviewed.
• Your sample chapters should showcase your book, so pick the introduction (your proposal overview introduces the book to the agents/editors; your introduction introduces it to your readers) as well as the ones that best represent your concept and writing.
• Your sample chapters should be long enough for authors/editors to experience your writing. If you're unsure and your proposal is under 50 pages, include another chapter.
• Have a few additional chapters completed that are not included in your proposal in case you receive a request for more.
• While you don’t have to have your entire manuscript written yet, you must know how your book will be laid out [see here for why].

Bonus tip: have your proposal reviewed by a few peers before you formally submit to an agent. Do they want to read more? It's important to lay out your book so reviewers understand the entire concept and then leave them wanting more.

Have a question for our Ask An Agent series? You can submit it here.

Interview with a Publicist: Shanon Stowe

For this week’s Ask An Agent blog, I thought it would be interesting to interview an expert in the field of book publicity. I asked my long-time friend and colleague Shanon Stowe if she would be willing to be interviewed and she graciously accepted. Shanon is co-founder and president of the book division of Icon Media Group. She has 17 years of experience in book publishing and has launched more than 50 New York Times bestselling books. Shanon formerly served as Director of Publicity for Hachette Book Group, Publicist for Thomas Nelson, Inc., and also co-owned PS Media Relations.

Shanon, you’ve been doing book publicity for quite a few years now. What would you say are some of the biggest differences in publicity today from when you started 17 years ago?

Books and authors are two of my very favorite things! I’m fortunate to have worked in the book publishing industry doing publicity for my entire career. Many things have changed over the years, but the first thing that comes to mind are the types of media coverage opportunities.

Back when I first started, opportunities seemed unlimited--we had everything from a huge variety of daily radio and TV talk shows to countless daily newspapers and a plethora of magazines to choose from. Writers and editors were aplenty and you could always find a book editor who was likely to care about your project.

As the digital age has grown, we’ve seen a huge shift in all forms of communication and gone are the days of every newspaper having a book editor and countless radio and TV opportunities to choose from.  But we’ve quickly seen a rise in other forms of media including social media platforms, podcasts, blogs and online news sites. Initially it felt like all the good opportunities were gone, but in reality, we have more now than ever before. We just have to be more creative and open-minded about new media and digital opportunities.

What are some of the greatest challenges to having what you consider to be a successful publicity campaign for a book launch?

The number one component of a successful publicity campaign is a willing, able and eager participant. The engagement of an author is vital to the success of the campaign. Believe it or not, some authors are just not interested in promoting their book. Others are only interested in promoting it with “major outlets.” And others cancel their media interviews a few hours before going on air, or simply don’t show up … which is even worse. This behavior sends a message to the media outlet and the publicist about just how seriously the author takes promoting their book and how little they value another person’s time and investment in their message. This kind of behavior also hurts the publicists’ credibility and relationship with their media contact.

Another major challenge is the competition for coverage created by the sheer volume of books being published. Estimates are that anywhere from 600,000 to 1 million books are published in the United States each year, with at least half of them being self-published. And they all want to be on the TODAY Show. Can you imagine a producer or writer wading through their email, voicemail and regular mail from all the publicists pitching these books? Having a well-connected publicist is key!

What would you say are your primary responsibilities when your firm is hired for a book publicity campaign?

My first responsibility is to know my media contacts, understand their wants and needs, and to serve them well. If I don’t get that right, I cannot be an asset to my clients. My primary responsibility to my client is to invest in their project and help craft the best messaging and pitch for positioning to media. Once the messaging is right, our sole focus is pitching and pitching and more pitching. Bottom line: we’re paid to garner as much impactful coverage as possible for the book and author.

What, in your experience, are some of the biggest misnomers about book publicity?

·      It’s easy. According to CareerCast, a PR professional has the 6th most stressful job in America, falling just after military, firefighter, and airline pilot! Enough said.

·      Media responses/bookings are in the hands of the publicist. Nothing is more frustrating for your publicist than a media outlet that isn’t interested in or is unresponsive to a pitch. A publicist wants to land as much coverage as possible for their client, but it takes time. Sometimes it takes a really long time. I recently landed a major show for a well-known author that was 5 years in the making. Seriously, I pitched the producer on this piece for 5 YEARS! In the end it was all about timing--the media outlet’s timing. It’s also worth noting that after the piece was taped, it took 5 more months to make it on the air.

·      My book failed and it’s the publicist’s fault. I’ve heard it all: the publicist didn’t do their job, wasn’t good at their job, didn’t pitch me/the book correctly, didn’t make any follow up calls, doesn’t have the best contacts, etc. At some point you have to realize that sometimes a topic doesn’t resonate, or the timing isn’t right, or that the media contact just flat out does not care. Berating the publicist about whether or not they called a producer two more times or over the exact wording they used in their pitch is not helpful. If your publicist has a proven track record of success, I promise, it’s not them.

You’ve worked with some of the most well known authors in the business, as well as with first-time authors and everyone in between. What advice would you give to an author who’s just secured their first book deal and will be working with a book publicity team in the coming months?

First of all, congratulations! Being published is an honor and the professionals inside and outside the publishing house who are helping you carry your message to the world are a treasure. A few things to remember about the publicist you encounter:

·      Your publicist is excited about you and your message.

·      Be nice to your publicist. Your publicist is the person on the front lines representing you and your message to media. Send them flowers. Or chocolates. Or jewelry. Just kidding … kind of.

·      Ask questions and be open to honest feedback. Ask your publicist about her media goals for your book and for her honest opinion about media possibilities. Be willing to hear it: your publicist is talking to media on a regular basis and has her finger on the pulse of what will and won’t work.

·      Be flexible and available. When your publicist asks you to do an interview or write an article on the fly, try to accommodate. Be willing to move heaven and earth to promote your book. Not only will it show your investment, but it also motivates your publicist to work harder for you.

We hope this provides you with a great inside look at the world of book publicity. If you have a question about book publishing that you’d like answered feel free to submit it for our Ask an Agent series here.

How Do I Query An Agent?

"How do I query an agent?" is a common question I hear from prospective authors. It is one of the easiest to find the answer to and, to the frustration of many agents, something most authors completely ignore.

A query is simply a request to a prospective agent to consider you and your work for representation. It universally entails a single-paged letter and often includes a proposal for your work. Beyond that, the specific agent or agency you are sending your request to often, but not always, has additional information they would like you to submit as well. For an example of this, you can review our Submissions page.

How you craft a query letter is pretty straightforward and a simple Google search of "how to query an agent" will lead you to a multitude of examples. Some of the best, in our opinion, are here, here and here.

Your proposal, likewise, will follow an almost universally agreed upon format. The reason for this is that the majority of publishers your potential agent will work with all require the same information for purposes of considering a project for their publishing program. Hence, regardless of your agent, they will be required to submit the same basic information for the publishers to consider your work, and will require the same from you. Again, this has been covered in a multitude of places, both for free (here, here and here), as well as through highly valuable and worthwhile paid guides (here and here).

The absolute quickest and surest way to entice an agent to reject your query is to ignore the basic guidelines of a good query and proposal, or to ignore the agent or agency's specific guidelines as laid out on their website. A recent query to our agency involved a hard-copy mailing (even though our submission guidelines clearly indicate that only submissions through our email process will be considered) of a completed manuscript (even though our submission guidelines clearly indicate what to provide, and a completed manuscript is not on the list). The author did include a query letter, wherein they stated that "submitting a small segment of [the manuscript] via e-mail would not provide a proper exposition of its thematic presentation."

Here's the deal: All agents face an almost insurmountable "slush pile" of unsolicited author queries. We are all in this business because we love books, we love authors, and we love finding fantastic new ones. But we simply cannot read a complete manuscript from every author who might submit one, even if we wanted to. What's more, we can't simply submit a completed manuscript to potential publishers for acquisition. The proposal process is so well defined because it is used by everybody, agents and publishers alike. If you as a potential author cannot adequately describe your manuscript in a proposal, we can't represent it or sell it.

So if you want to be taken seriously at the query stage, follow the agent or agency's submission guidelines. Otherwise, you have an almost 100% chance of being completely ignored.

Have a question for our Ask An Agent series? You can submit it here.

When Does a Proposal Come in the Writing Process?

A reader asked: How far along in the book writing process should you be before submitting a book proposal?

The answer to this is in the form of another question: Are you able to articulate the complete book idea in a sentence or two?

While you technically only need a few chapters complete when submitting a nonfiction book proposal, you do need to know exactly what your book is going to be about, including an overview as well as a chapter-by-chapter synopses. Basically, a complete book outline with the big ideas articulated is needed.

And while the proposal describes the book and author, the sample chapters are helpful to evaluate how the author is going to get to the ideas, including the tone and style used. It doesn’t hurt, especially for new authors, to have more than a few chapters written. This way, if a publisher/agent is interested in seeing more from you, you already have additional chapters ready to send.

Also keep in mind that you will need to be able to articulate in your proposal when the book will be completed. This helps the publisher evaluate if they have space in their list for your book.

A good proposal is not easy to put together and is a significant investment in your time, whether you have two chapters or the entire manuscript written.

Have a question for our Ask An Agent series? You can submit it here.

Should You Publish Without an Agent?

I was recently asked if an author should publish without an agent. The quick answer to this is no! But, like most questions, there are multiple things to consider when making this decision.

Taking a step back, most of the major trade publishing houses actually don't accept unsolicited manuscripts or proposals in the first place. With that in mind, you're going to need an agent who has existing relationships with the right publishing houses and editors who acquire in your genre to even have your book idea considered. 

In the unlikely event that a publishing house does accept unsolicited proposals, you still might be better off with agent representation for a variety of reasons:

• Without an agent, you won't have a third party looking out for your best interests and it puts you as the author in the seat of negotiator, rather than allowing you to keep your focus on the craft of writing and nurturing your relationship with your editor.
• Unless you are business and contract savvy, you'll want an agent who understands the legal and contractual ins and outs of publishing so you don't end up in a less than favorable position.
• If you've never published before and don't have experience with the publishing process, you'll want someone on your team who is willing to explain things to you and can foresee where you'll need guidance and assistance in the process.
• While it would be nice to believe that a publishing house would never take advantage of an author who doesn't have representation, the reality is that you will most likely not receive as good of a deal as your agented peer.

I've talked with a few authors during my history in publishing who have been fortunate enough to get book deals without an agent because they either had a personal connection or were approached directly by a publisher. But most of them look back on that experience and wish they had obtained representation before signing their contract. So how do you get an agent? Here's a good place to start.

Have a question for our Ask An Agent series? You can submit it here.

How to Pitch an Agent/Editor in 15 Minutes or Less

Often times when you attend a writers conference, you have an opportunity to sit down, speed dating style, for 3-15 minutes with various editors and agents. A common question is, what do I have to do to convince someone in a short pitch to represent or publish my work?

The short answer is, you can't. Except for exceedingly rare circumstances, no editor or agent worth their salt is going to make a snap decision in that setting. You have to realize that the agents and editors are trying to provide a service more than they're expecting to actually find a diamond in the rough. They're going to give you pointers, what's working, what isn't, and talk to you about your big idea or try and help you figure out how to explain it if you even have one. They're not really expecting to meet new clients or authors. It happens, but again, that's not the expectation.

But before you get discouraged and decide to blow off the meetings, let me tell you why I think this actually opens the door for you to get serious attention.

If an author sits down in front of you, has actually done their homework, polished their pitch, and presents a compelling idea, that won't be the norm. You have a chance to stand out from the crowd by being prepared to do your very best. If you accomplish this, then the editor or agent may actually invite you to formally submit your material for consideration. So what do you need to do?

Whatever you do, do not bring a 50 page document with the expectation that the editor or agent is going to take this from you. They may be polite, but it will not make it out of the hotel room. You should have a 1-3 page, easy-to-read and cleanly styled document with your name, contact information, a short bio, the title of your work, a 2-3 sentence hook, and 5-6 paragraph description of your main thesis or idea. And that's it. If you do a good job in the pitch, they will take this document from you and it will have the information they need to follow up with you. If you cannot boil down your idea to a compelling presentation in this format, you're not ready to present your idea.

You should also prepare a ninety-second pitch that you are going to deliver verbally. When you first sit down, you'll introduce yourself, the agent or editor will do the same, and there may be some small talk. But the whole point is for you to make your pitch. Be prepared. Again, if you can't tell me in 90 seconds or less what your big idea is, why it's important, and why you're the right person to write it, you're not ready to present your idea. 

If you really want to stand out, research the editor(s) or agent(s) you're going to be meeting with. If your opening ice breaker is a statement about why you are excited to meet with this person because you know they work with a specific author or have published a specific book or set of books that are similar to you or what you're working on, you'll have their undivided attention. Again, be prepared. This isn't a must, but it will go a long way toward helping you stand out. If you begin this way, nail your 90-second pitch, and have a solid 1-3 page document you can leave behind that is equally compelling, you will get positive feedback, and just might land yourself an editor or agent. 

Finally, I'd practice your pitch and let a few friends read and respond to your document. Let them ask you questions, poke holes in your presentation, press you a little bit. An editor or agent asking you questions and engaging you with your idea can't rattle you. You need to be prepared to answer questions. Think through specific questions someone might have about your project. Some obvious questions you should be able to respond to: Are there other books similar to yours already in the market? If so, what is your unique contribution to the topic? What other writing have you done similar to this? Have you built an audience and is this the type of work they'd expect from you?

I've said it a few times now, but I can't over stress this: Be prepared. If you follow the above advice, you will be ready to make the most of your short window of time, and you will leave a good impression. That's the most you can hope for from these meetings. Most editors and agents will be happy to meet with one person that is worth following up with. This will help you be that person. 

Good luck! 

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