How To Become Published – Step 6
Traditional Publishing Is A Writer’s
Best Friend
Publishing Alternatives
Those with aspirations to become a published author must define the word “published,” since there are publishers and then there are publishers.
Publishing alternatives include: Traditional Self-Publishing, Co-Venture or Cooperative Publishing, Print-On-Demand Publishing, Vanity Publishing, Subsidy Publishing (traditional and Internet), E-book Publishing, and Traditional Publishing through national/international companies, regional/small presses, or university presses. For the first-time writer, each possesses advantages and disadvantages.
Writers that are intent on building a publishing career should consider each publishing alternative in light of their goals and the industry perception of each publishing venue. A strategy that has proven most successful is to exhaust the potential to be traditionally published before self-publishing. This excludes other alternatives including, above all else, subsidized publication.
Traditional Publishing
Many authors and poets choose subsidy presses because they do not thoroughly research the options. Some give up, believing no traditional publisher will be interested in their material.
Before committing to any alternative publishing options, seek a traditional publisher. These include large, medium, and small publishers, as well as university presses. These companies pay all costs involved in publishing the book.
There are a number of traditional publishers seeking the next bestseller. Think positively. If you believe your book is worthy and should be accepted for publication by a traditional house, give it a try. If this fails, traditional self-publishing is always possible.
Set your sights high. Author Terry Cole-Whitaker’s book, Every Saint Has A Past, Every Sinner Has A Future is a must read for those who require a daily pep talk about never giving up. She writes, “I decided long ago that it is much better to strive for what seems to be the impossible and fall short than strive for the possible and attain it.”
Echoing her thoughts was the revered author William Faulkner. He wrote, “[The writer] must never be satisfied with what he does. It never is as good as it can be done. Always dream and shoot higher than you know you can. Don’t bother just to be better than your contemporaries or predecessors. Try to be better than yourself.”
This credo is pertinent when you consider what best-selling author Tom Clancy (The Hunt For Red October, The Bear and the Dragon) says about the writing process. He told Writer’s Digest, “Writing a book is an endurance contest, and war fought against yourself, because writing is beastly work which one would just as soon not do.”
Regardless of your attitude toward the craft, having one book published by traditional means is paramount to launching a career. It can be done. Respected literary agent Richard Pine provided inspiring advice early in my career. When I was upset that several publishers had rejected one of my books, he said, “Mark, it only takes one to say ‘Yes.’”
An aspiring author must believe, “Yes, I will be published.” As stated before, repeat this mantra on a regular basis. Years ago, Penny Marshall, the Laverne and Shirley television star turned motion picture producer/director, was asked what motivated her. She swore every morning she walked into the bathroom, looked at her image in the mirror, and said, “Today I will produce my film. Today I will produce my film.” This type of never-give-up attitude applies to publishing. Those who believe in themselves become published authors whether their books are releases by the “big boys” (Simon and Schuster, Random House, Doubleday or one of their imprints), and so forth, or successful small presses continuing to publish terrific books. More about small presses can be discovered in Writer’s Market, at the Poets and Writers Magazine web site or through www.cbsd.com/pubs.cfm the site for Consortium Book Sales and Distribution.
Traditional publishing has several advantages, but one is most significant: The publisher normally pays the author an “advance” so it can publish the book. The amount (usually half up front—half upon acceptance of the manuscript) is based on the number of books the publisher anticipates selling. Using sophisticated data, the company determines the number, calculates the sum the author would earn under the proposed royalty agreement, and then offers a percentage of the total. Advances range from a small amount to a million-plus. Regardless of the advance, remember that the publisher believes in the potential of the book to the extent they are willing to fund printing and editing costs, disperse upfront money, and permit sharing of royalties instead of asking for money. This is significant since industry statistics confirm publishers earn a profit on fewer than 10 percent of the books they release.
Authors earn revenue from the sale of each copy of the book. The royalty may be based on the retail price or the publisher’s net income (wholesale price). In today’s marketplace, garnering a percentage of the retail price is rare, since publishers provide the retailer with at least a 40 percent discount. More likely, the royalty will be based on the “invoice price,” a term referring to the price indicated on the publisher’s invoice to wholesalers (distributors) and retailers (sales outlets).
This figure subtracts the discount from the retail price. Any royalty paid will be based on the “net copies” of the book sold. This refers to the total copies invoiced less those returned to the publisher. Since retailers have the right to return books they cannot sell, the publisher will keep a reserve account (revenues withheld from the author or poet) to cover the anticipated returns.
Typical royalty schedules call for the author to be provided revenue percentages based on increments of books sold. Each agreement will differ, but a standard split could call for the author to garner a 10 percent royalty on the first 10,000 books sold, 12½ percent on the next 5,000 sold, and 15 percent thereafter on the sale of hardcover books. Successful authors who have sold mega-books command percentages escalating to 50 percent and beyond with advances in the multi-million dollar range.
Royalties for the trade paperback edition of a book will vary, but the percentage is less based on a lower retail price. Seven-and-one-half percent is reasonable.
Authors wonder whether it is advantageous to consider a traditional publisher since the royalty amount is low as compared with traditional self-publishing where the writer keeps all of the revenue. This is a matter of choice, but don’t forget that with self-publishing you will have a financial outlay of funds to finance the publication of the book. With a traditional publisher, you do not since they cover all of the costs.
Another question that may be faced by authors is whether to accept a trade paperback publishing offer when they seek a hardcover release. A literary agent or entertainment attorney specializing in the literary field can offer advice. Being published in hardcover is prestigious, but trade paperback can provide the launch for a career.
To a budding author, securing a publishing deal with a traditional publisher, big, medium, or small, is cause for celebration. Drink, eat, and be merry for a week.
Securing a publishing commitment, regardless of the advance amount (the advance for the first Chicken Soup book was $1,000), or lack thereof, is important to building a career. It provides credibility. The first publication can lead to a second, since you are “publishable.”
Author interaction with publishing house editors varies according to the size of the publisher. At a smaller “house,” the editor may be responsible for one book or as many as three. This scenario permits them to spend considerable time with the author or poet on everything from final editing to promotion.
Editors at medium-sized or large publishers may not have this luxury, since their job responsibility dictates interaction with several authors. Many times the first-time author is relegated to dealing with an assistant to the editor. Sustaining a good relationship with the editor and his or her assistant is vital to the success of the book.
Never forget that while some editors may not be great writers, they possess terrific instincts. Listen to them, learn from them, and respect them, for they are the foot soldiers regulating the flow of material into the publishing industry.
Traditional Self-Publishing
Traditional Self-Publishing dictates that authors write the book, design and lay out the pages, design and prepare the book cover or jacket, contact a printer and bookbinder, and pay to have the book printed and bound. Using a commercial layout program such as Pagemaker or Quark ensures a professional appearance for your book. Since keeping the “cost per book” to a minimum is important, obtain several printing and binding quotes. Printing a book of approximately two hundred pages for less than five dollars a copy is possible if sufficient copies are ordered.
On the day your book is delivered, celebrate since you have accomplished a goal others covet. You can give or sell the book to family, friends, and colleagues—whomever you want. You retain any revenue, since no agent or publisher receives a percentage.
When you self-publish, print as many as you wish, whenever you wish. You can sell them at flea markets, on a table in your front lawn, or at book signings organized at bookstores and other outlets.
If you choose Traditional Self-Publishing, you are the writer, editor, promoter, marketer, warehouser, and bookkeeper for your book. If it succeeds, it is because of your efforts. To gain a better understanding of a game plan for self-promotion, consult Self-Publishing Report. Author Dan Poynter’s website at www.parapublishing.com provides extensive information about the self-publishing process. He also hosts compelling seminars around the world.
Since you will not benefit from advice and counsel offered by a publishing company while finalizing your manuscript for self-publication, hire an accomplished line editor to review the manuscript. Doing so will strengthen the writing style and prevent careless grammatical and spelling errors infiltrating the text. Every word written is a reflection of your writing ability, and you want the book to be first rate and professional.
Many self-published authors who do not hire a line editor are embarrassed when their book is released. Careless mistakes ruin good writing.
Remember there are line editors and then there are line editors. Request edited works of fiction or non-fiction to ensure credibility. Choose an editor with experience in the particular genre that you have chosen.
To help locate other reputable printers, visit www.parapublishing.com. Information is presented under Book Printing At The Best Price. Before submitting orders, writers should request sample copies of printed material to ensure quality. Keep in mind that the printer and the bookbinder are often the same company. If this is the case with the printer you are contemplating, request a sample of a bound book that is similar to yours (hardcover or paperback). Be sure to get in writing their policy of replacing substandard or damaged copies.
To aid your self-publishing efforts, read the Writer’s Digest publication, Publishing Success, The Writer’s Survival Guide to Self-Publishing and E-Publishing. Articles include “8 Steps To A Good Book” (Learn about the eight most common reasons self-published books fail), “Get Your Book On The Shelf” (find out who the middlemen are, how books get into stores and how you can get your book in stores), “Get Booked On Oprah,” “Tips From The Pros” (eight successful self-published authors share their stories), and “Words From The Wise” (nine successful e-authors discuss the advantages and disadvantages of e-publishing). Included is a complete listing of publishing companies with specifics about each.
Key to any author efforts is securing a distribution pipeline so the book can be exposed in bookstores and libraries. Beware of any distribution companies demanding payment in advance for their expenses. If they agree to represent the book, they should assume the risk based on a percentage of the revenue garnered from the sale of the book.
One author discovered a chain store in his area willing to stock a few copies of his book on consignment. To his delight, the store agreed to charge a 30 percent fee, well below standard. Independent bookstores will stock self-published books on a similar basis.
Besides bookstores, consider non-traditional outlets. Depending on the genre of your book and its anticipated target audience, you can locate outlets where potential customers will congregate. For instance, Let The Good Times Roll, a music anthology book I co-authored, was marketed through music outlets including nightclubs, bars, and museums. Many of my books have also sold well in a men’s clothing store.
Don’t forget the Internet as a distribution outlet. Amazon.com is an excellent way to reach both broad and specialized audiences. Their Advantage program encourages self-published authors to expose their books on the website. Other Internet sites, including Barnes and Noble, are also available.
Most authors that self-publish establish their personal website to promote themselves and their book. If you do so, make certain it looks professional. Sloppy websites with cheap graphics will inhibit your reputation as a budding writer instead of enhancing it.
If you decide to sell your book on your website, consider PayPal, the “poor man’s credit card” account. Information is available at their website and start-up costs can be kept to a minimum.
Entering your book in reputable competitions, such as those sponsored by Writer’s Digest or prestigious poetry magazines, is advisable. You never know who will read your works and decide, “Hey, this is a writer I want to know.” A list of selected competitions is available in Poets and Writers Magazine.
When marketing and promoting your book, consider spending funds to hire a public relations company to represent it. This adds a professional edge to your efforts and provides access to media you may be unable to reach otherwise.
Editor Amy Pierpont believes self-publishing can be a definite asset. In The Writer, a recommended publication for aspiring authors, she stated, “Publishers are always looking for talented writers, and when we find they’re already self-published, it is often an added plus because the author comes with a built-in audience.”
Success stories abound among traditional self-published authors and poets who write less for monetary gain and more due to an important story they want to tell. Among them is Costa Mesa, California housewife Laura Doyle. She and her husband self-published a book titled, The Surrendered Wife. It detailed how women could transform their marriages into intimate, passionate unions.
To their surprise, the book became a hit on Amazon.com. Scouts at Simon and Schuster learned of the success and offered a contract. The book was a New York Times bestseller.
Gordon Miller achieved success by self-publishing. His book, Quit Your Day Job Often and Get Big Raises triggered a contract with Doubleday for a second book, The Career Coach: Winning Strategies for Getting Ahead in Today’s Job Market. “Self-publishing can be a terrific experience!” he swears. “Align everything about the book to your target market. Most of all, have fun with it.”
Miller believes self-publishing has earned a brand new reputation. “There is no question that self-publishing has gained more respect,” he states, “primarily because there are so many stories of self-published books going on to be national bestsellers.”
Each week in Publishersmarketplace, the Internet email publication previously mentioned, there appears another example of an author or poet that traditionally self-published and built up a significant following for their book to attract a traditional publisher. Many are also signed for a follow-up publication based on the success of the first one.
To aid writers, a snapshot of the self-publishing process follows this chapter. Those who decide to traditionally self-publish wear a badge of courage for their efforts.
Co-Ventures
Many publishing companies are interested in co-ventures. This occurs when an author agrees to finance the hard costs (printing) of the book. For their part, the publishing company advances the remainder of the costs for distribution and, perhaps promotion. Depending on the investment of each party, an agreement is reached regarding future revenues. Each recoups its costs, with the split then fifty-fifty. Every deal varies so the advice of an agent or entertainment attorney is suggested.
Writers seeking co-ventures should focus on mid-sized or smaller independent publishers. Research will reveal publishing companies that may welcome such an arrangement. Remember that a co-venture is not a subsidy publishing arrangement but a partnership. Beware of being hoodwinked into paying for all of the costs.
Print-On-Demand
Print-On-Demand publishing is an alternative for the first-time author to consider. Trade paperback-sized books are stored electronically and printed one at a time based on the demand. Turn-around time can be less than forty-eight hours. If a greater quantity is requested, shipment is possible within a week.
Fee-based Print-On-Demand companies are not publishers in the traditional sense. They charge “set-up” fees ranging from ninety-nine dollars to a thousand dollars or more. Some also offer marketing packages and other services. You normally submit your book in electronic form on a computer disk.
Writers receive royalties from the sales of the book. Royalties can range from 20 percent for hardcover books purchased directly from the publishers to 10 percent on those purchased by bookstores, libraries, and the author. This may seem advantageous, but investigate what the fee-based Print-On-Demand publisher can do that you cannot do simply by traditional self-publishing.
The main differences between fee-based Print-On-Demand publishers and traditional self-publishing concerns control (when you self-publish, you control all aspects of the book as compared with Print-On-Demand where you choose from the publishing services offered), book revenue (traditional self-publishing permits you to keep all book proceeds while Print-On-Demand outlets only provide a royalty), and book rights (by traditionally self-publishing, you keep all the rights while some Print-On-Demand outlets require you to contract with them for an extended period of time).
If you are determined to print only a few copies of your book for family and friends with no potential for commercial success, fee-based Print-On-Demand has merit. If you are a public speaker interested in “BOR” (Back of Room) sales, or a businessperson seeking publicity for a specific economic issue, POD can also make sense.
If you do choose a fee-based Print-On-Demand outlet, be certain to hire a line editor with experience in your genre to edit the book. Many POD books are released that include typos and grammatical and punctuation mistakes. Make certain that you have the right to check the final version of the book before it is printed to verify printing quality. When you receive your books, check immediately the printing quality and whether the text includes your revisions. If it does not, return the book to correct the mistakes. Your book is a reflection of you and many are released that prove embarrassing to the writer.
Writers attempting to build a traditional writing career should avoid fee-based Print-On Demand outlets. In the true sense of the words, they are simply subsidy publishers and viewed as such by the traditional publishing industry, bookstores, and libraries. Certain stigmas that attach are described in the next section and reviewers will most likely pass when requested to review the book.
Vanity Presses/Subsidy Presses
Vanity Press is a misunderstood term. Some define it as a company that charges an author for all of the production and marketing costs of their book, but to many, it indicates writers who decide to publish their book for family and friends.
There may be many reasons for doing the latter. A Philadelphia trial lawyer wrote a book chronicling his courtroom adventures. He wanted his children and grandchildren to learn about the justice system during his lifetime. This was worthy and had nothing to do with ego. The accurate term for his effort was self-published.
The term often interchanged with Vanity Press is Subsidy Press. These companies are easy to locate. Vantage Press is the most well known. They accept manuscripts, guide efforts with regard to finalizing proper form and substance for the material and the cover, and then print the book. Editing services and promotional ideas are offered at extra cost.
Similar companies exist on the Internet. All promise your book will get a look-see from the national chain stores, but the promise doesn’t guarantee the book will be stocked in those stores. Most times it will not unless the book stirs enough interest to entice the stores to stock it.
Subsidy Presses have published millions of books. Writers who choose this option have achieved the goal of being published. They are free to sell their books any way they choose, albeit with the press or the publishing company taking its share of the profits. This can range from 25 percent to 50 percent.
As mentioned, a hybrid of subsidy publishers has appeared in recent years. These fee-based Print-On-Demand companies claim to be the author’s best friend and some do not demand a share of any book revenues. Nevertheless, organizations that bill themselves as fee-based PODs are in fact subsidy publishers by the very definition of the word “subsidy” since the authors or poets are subsidizing publication. One company, for instance, advertises through mailings “monthly specials” akin to a used car dealer. They also hoodwink the author by making the claim that they will “make [your] book available through more than 25,000 bookstores worldwide.” This may be true, but the reality is that few will actually stock the book.
Other Subsidy Press outlets promise that authors will keep the rights to their book. This is acceptable, but the Subsidy Press will receive a hefty portion for each book sold at a price that they determine. Website advertisements alert the author that they have a “variety of options regarding payment percentages.” Read the fine print before committing and ask, “What can this subsidy publisher or fee-based POD do that I can’t do by traditionally self-publishing where I keep all the revenues?”
If you decide to publish through any outlet that is, in effect, a Subsidy Press, you must have realistic expectations based on the understanding of the advantages and disadvantages of the subsidy press you choose. Some are better than others, but the basic agreement unfolds as follows: The author pays a fee to have a certain number of copies printed. At Vantage Press, 450 copies is the minimum. The company guarantees the book will appear at least once in their New York Times Book Review advertisement, and that the book will be distributed through Baker and Taylor, a reputable company. The book will be listed in Books In Print, Publisher’s Trade List Annual, and the Vantage Press catalogue. Book publicity is circulated to local media in the author’s area or selected national media through a list the author provides. For this service, the press is entitled to a certain percentage of book revenues.
Vantage Press and other such outlets promise to forward review copies to bookstores and local libraries in the author’s area. Major bookstore chains and online book outlets are advised of the publication. If the author schedules book signings, the company will assist with providing books.
Since the Subsidy Press offers such services, many authors and poets wonder why their books do not sell in large quantities. Ninety-nine percent won’t because a first-time author or poet has no name recognition, no backing from a nationally known publisher, and no solid marketing and promotional campaign behind them. The national chains and independent stores are reluctant to stock a book by an unknown. They are too busy promoting books by well-known authors.
Libraries frown on all Subsidy Press books. They have limited budgets and are influenced by the bestseller lists. Authors and poets may contact them, but the chances of libraries purchasing the book are slim.
Above all, remember that any Subsidy Press earns most of their money by charging authors to print the books and for other services, not by selling the books. Before committing, request a list of best selling books published by the Subsidy Press under consideration. Understanding their operation can prevent a naive author or poet from being suckered by promises the Subsidy Press can’t deliver.
A distinct disadvantage to Subsidy Presses is the stigma attached to it. Many fine books have been published, but there is the perception among traditional publishers, libraries, and the public that a subsidy book is an ego trip not to be taken seriously. Those who publish with Subsidy Presses are marked as rank amateurs who could not be otherwise published. Right or wrong, this is the perception. As self-publishing guru Dan Poynter says, “The name of the subsidy publisher on the spine of the book is a kiss of death.”
When you copyright material, whether it is the book manuscript or a Book Proposal, you may receive a solicitation letter. The opening line may read, “One of our researchers has come across the manuscript you registered with the Library of Congress and has forwarded your name to us as a possible candidate for publication with our company.” The second paragraph mentions “problems” authors have in finding a “commercial publisher.” It then reads, “Just having your manuscript read by most commercial publishers is difficult and involves long delays.”
This type of language can adversely influence those not familiar with the publishing industry. Beware of such information, or any that discourages traditional publishing or traditional self-publishing. It may not be directly misleading, but there are multiple traditional publishing companies that will consider material and contact the author quickly with an opinion.
Poets should be wary of contests promising that the winners will be included in a published book. Oftentimes, everyone submitting poetry is a “winner,” since the contests are intended to lure poets into purchasing the books. Such “pre-purchase” agreements are part of the “publishing trap.” It also includes subsidy publishers and literary agents who charge in advance for their services.
Other organizations promise to include poetry in an anthology if the poet will pay a certain fee or purchase books. It is important to distinguish those publishers from the legitimate ones. Those preying on a poet’s excitement that he or she will be a “published poet” don’t care about how many books are sold, only how many fees they can collect. Avoid such publications for there is a stigma attached to them.
Subsidy publishers rely on the desperation of aspiring authors and poets who believe there is no other way to be published. As stated, beware of the “publishing trap” and consider alternatives before being sucked in by a subsidy publisher, an unprofessional literary agent, or “pre-purchase” poetry book publishers. Investigate before committing.
Internet Publishing
Internet publishing provides a vast array of publishing opportunities similar to standard Subsidy Presses. For a cost, the Internet provider will publish a book as professional as those released by the major publishing companies.
Costs differ for hardcover and paperback editions. Additional fees are charged for editing; cover layout, and other services. Some of the publishers provide free books for author or poet use; some do not. Most retain a hefty percentage of sales revenue. Be wary of promises made that a book will be forwarded to bookstores or other outlets. Many of these companies, like standard Subsidy Presses, earn their revenue from providing author services and not by selling books.
An alternative worth researching is having your book published as an E-book. Software programs are available regarding this method and there are websites and E-book online publishers that provide guidance regarding publication. Once again, be wary of paying fees for this type of service since modern technology permits you to do this on your own or with a consultant at lower cost.
Contacting Literary Agents and Publishers
If, after considering the options of submitting your book idea to traditional publishers or traditionally self-publishing, you decide on the former, contact literary agents for potential representation. You may also contact publishers directly if you feel this is worthy although many required agented submissions for consideration.
My advice is to attempt to secure a traditional publishing commitment if at all possible before considering any of the other methods of publication. The reason – simple – what do you have to lose by simply giving it a shot since the worse thing that may occur is for you to be rejected? If you are, it is not as if you have a life-threatening experience. Try, try, and try some more, and if there is not a traditional publisher willing to publish your book, you may then try traditional self-publishing or another option.
Locating publishers is simple—gaining their attention is more difficult. While various publications list publishers and contact names, an author submitting material faces long odds. Estimates vary, but publishers confirm they receive thousands upon thousands of manuscripts, Book Proposals, and Query Letters each week.
Noah Lukeman, a New York-based literary agent and author of The First Five Pages: A Writer’s Guide To Staying Out of the Rejection Pile, told Poets and Writers Magazine, “To begin with, [writers] will need to find an agent. Querying publishers directly is a mistake. If you try, you’ll find that the majority of them will simply return your query letter and instruct you to find an agent.”
As suggested by Lukeman, the better and more professional way an author or poet can submit material is through a literary agent or entertainment attorney. In his book, Kirsch’s Guide To The Book Contract, author Jonathan Kirsch writes, “An agent may play a great many roles in the life and work of an author—advisor, cheerleader, confidante, mentor, editor, and more. But an agent is, above all, a salesperson. He tries to find as many potential buyers as possible for the author’s work, and seeks to extract the best price available from the interested buyer.”
Knowledge regarding the agency process comes from reading various books such as Writer’s Market and The Guide To Literary Agents. One front cover states that the book will reveal, “500+ Agents Who Sell What You Write, 550 Agencies, 550 Phone Numbers, 200+ e-mail addresses and web sites, 100+ Subject Categories, 100+ Conferences.” Other source material includes the Literary Market Place, Member List, Association of Author’s Representatives, and Novel and Short Story Writer’s Market. Writer’s Digest provides listings of established agents as well.
For information regarding the submission of poetry, consult Poet’s Market. It reveals submission guidelines, contact names, and other important information. A list of chapbook publishers (release of small volumes of poetry) is included as are the names of reference books helpful to the aspiring poet. Poets and Writers Magazine also is a good source for the name of literary agents who will represent poets.
A good source for information about children’s books is the Children’s Book Council. Information regarding publishing opportunities, trends, and specific data concerning submission of material is available at www.cbcbooks.org. Also reference Children’s Writer’s and Illustrator’s Market, an annual publication of Writer’s Digest Books. Another is Children’s Book Market, The Writer’s Sourcebook, a publication of the Institute of Children’s Literature.
Aspiring children’s book writers are encouraged to research membership in the Society of Children’s Books Writers and Illustrators. Chapters are located in nearly every state and around the world. More information about this prestigious organization can be learned at www.scbwi.org.
Literary Agency Information
The Guide To Literary Agents is an important reference source for an aspiring author or poet. Read it from cover to cover. Included with each agency listing (see Appendix for sample Literary Agency and Publisher listings) are addresses, telephone numbers, fax numbers, e-mail addresses, and contact names. Most listings tell how long the agency has been in business and how many clients it represents.
The listing is informative as to the type of material the agency specializes in—fiction, non-fiction, poetry, and so forth. Under “Represents,” the agency includes the specific types of books they represent. For instance, one literary agency lists more than a hundred categories including cookbooks, gay and lesbian issues, New Age/metaphysics, action/adventure, romance, science fiction, money/finance, and women’s studies.
Important to note is the “How To Contact” section. Here the literary agency provides an explanation as to the rules and regulations for presentation of material. For one company, it reads, “Query [letter] with outline plus three sample chapters. Reports in one week on queries. One month on manuscripts.”
Toward the bottom of the agency listing is the phrase, “Recent Sales.” This category lists how many books the agency sold during the previous year. It provides an indication of their prowess in the industry, since they not only list the books, but the publishers who bought them. If such companies as Random House, Doubleday, St. Martins, Warner Books, and Simon and Schuster are listed, then the literary agency is a real player, one with contacts throughout the industry.
The Association of Author’s Representatives web site (www.aar-online.org) is a terrific source for information about how to secure an agent (a search page denotes agents for literary, dramatic, adult, and children’s books – agents are then listed by website address providing a way to check their credentials and submission guidelines) and the basis of an agent/author relationship. The site also presents a list of questions to ask a literary agent who expresses an interest in representing you.
Another helpful website is www.literaryagents.org. This site provides information regarding agents and the type of material they are seeking. There are also tips presented concerning proven methods to secure representation by reputable agents.
As mentioned, agent contacts can also be secured by checking the publishing deals listed in the newsletter published at www.publisherslunch.com. Each announcement normally contains the name of the agent who sold the book and their website address.
Literary Agency Fees
To understand the business acumen of selected agencies, check the section in The Guide To Literary Agents titled, “Terms.” This explains the percentage the agency will commission from any revenues the author or poet receives. For one agency, it reads, “Agent receives 15 percent commission on domestic sales, 20 percent on foreign sales. Offer written contracts, which can be canceled after thirty days.” This refers to an agreement between the author and the agency for representation that may be cancelled by either party.
While fifteen percent may seem like a big bite, and it is, the number is standard in the publishing industry. Representing yourself deflects any fee, but having a literary agent supporting you and providing advice is essential to building a career. I rationalize the agency fee by saying, “85% of something is better than 100% of nothing.”
Most publishing companies would rather deal with a literary agent than with the author or poet who is the creative genius that wrote the book. When business matters occur, editors at publishing companies prefer to discuss them with the agent. He or she will assist the author or poet if a conflict occurs between them and the publisher. Having an agent act as a buffer can prevent hard feelings.
One reminder about literary agents—never forget that they work for you, not vice-versa. If you feel the agent isn’t acting in your best interest, let him or her know. Good communication is essential to a long-term relationship, since agents represent many other clients. When agents are upset, it is usually more about them than it is about you. Exercise patience and understanding.
Remember that top literary agents have an on-going working relationship with the same publishing company editors. When conflict occurs, don’t hesitate to question the agent about decisions being made. The agent must act in your best interest. If this does not occur, you should part company.
Contacting literary agents by telephone or e-mail after representation has been finalized is proper, but consideration is suggested. Agents earn revenue by selling books and do not have time to chat on the telephone or through Internet instant message. Agents should not be considered counselors, therapists, or even editors. They can enhance a career, guide it, and provide support, but their main job is to sell as many books as possible.
Understand that telephone calls are often not returned. If literary agents have news to report, they will contact you. Otherwise leave them alone, especially on hectic Mondays, getaway Fridays, or during August when New York literary agents and editors flock to the Hamptons for sun and surf.
Choose a literary agent with a vision for a lasting career. Before selecting one, discuss long-term goals and the type of material of interest. Planning book two while book one is being readied for publication is essential for fiction, non-fiction, or poetry. Work with your agent to form a team that plans ahead in accordance with trends in the marketplace and book subjects that will be timely.
Book ideas originate with the author and the poet, not from the agent. One poet requested a meeting with an agent so he could learn of ideas for alternative poetry books. I explained that researching the marketplace was his job.
To help you understand the author/poet/agent relationship, a sample agency agreement is featured in the Appendix of this book. Also featured are tips regarding the agent and publisher listings featured in Writer’s Market.
Securing a literary agent is terrific, but you must continue to be a cheerleader for your book. Check in with the agent on a frequent basis. Remind them your book is the best one ever written and request updates on publisher progress. Most agents represent many books and it is a must to keep yours on the front burner.
Literary Agency Warnings
As stated before, a word of caution is warranted for the uninitiated. If a literary agent or agency requests that you pay them a fee for representation in addition to, or as an alternative to a percentage, run away.
Well-established literary agencies never charge an upfront fee. Be wary if an agent or agency requests a “reading fee” or “an evaluation fee.” Recouping reasonable expenses for copying and mailing is proper, but make certain there is a cap on the amount spent without your written authorization. If there are questions regarding the conduct of a literary agent, contact the Association of Author’s Representatives. Legitimate literary agents are members and subject to the AAR Canon of Ethics.
Hiring one literary agent to represent your works is appropriate, but some agents or agencies are better at handling particular types of books than others. Searching the AAR listings guarantees that you are contacting literary agents who will be most interested in your genre of writing.
Literary agent contracts can be written or verbal. When entering into a written agreement, beware of hidden clauses binding you to the agent for a lengthy period. Attempt to work on a project-by-project basis. If the relationship doesn’t work, the agreement can be terminated.
Literary Agent Research
A most common question among aspiring authors is: “How can I find a literary agent that will be interested in my book?”
A prelude to this question is whether you need a literary agent at all. If you intend to publish your works for a regional magazine, a literary journal, or independent presses, you probably don’t. But if you decide that submission to the larger publishing world is worthy, an agent is essential since most of the prestigious companies will not accept unrepresented books.
To discover the right agent for your book, strategy is a key. When you decide on the exact book you want to write, check literary agency listings to determine which ones represent that genre. List the “usual suspects” in a notebook and then visit the nearest bookstore.
Just as the initial visit discussed in Chapter One provided education about the workings of the book industry, this one will narrow the field of potential agents to be contacted. It requires checking the Acknowledgments pages of books similar to the one under consideration to discover if any of the names you have collected from The Guide To Literary Agents, or another publication, coincides with those listed in the Acknowledgments. Also note agents listed on the AAR website and at www.literaryagents.org.
This exercise lets you formulate a list of top agents who are candidates to handle the type of book you contemplate. As previously mentioned, the Acknowledgments may also provide the names of editors at the publishing company who collaborated with the author.
A tip for unpublished authors suggests seeking what has become known as an “early-career agent.” This means that although all budding writers would love to have John Grisham or Mary Higgins Clark’s agent represent them, this is unlikely and probably a mistake since they are too busy representing their big guns.
The alternative is to seek agents who have been representing writers for a year or two and are hungry to move up the ladder in the literary agent world. One of the best sources to discover these agents is in Publisher’s Weekly magazine where John Baker and other staff members chronicle publishing industry news in the “Hot Deals” column. Examining the news provides up-to-date information. Pay special attention to the announcement that a literary agency has hired new agents. These are likely candidates to be interested in your material as long as it falls into a category they intend to represent. Literary agency websites are most helpful to learn agent specialties.
Organizing a list of agents and publishers who should be interested in your book narrows the field for submission. A separate Rolodex listing of those names is warranted. When you are ready to submit your Query Letter and Book Proposal, the list will serve as a guide. Contacting those individuals will cut the odds, since you will know that these agents or publishers have shown interest in the type of book you are considering. Otherwise, you waste time and effort submitting material to agents who will have no interest.
Don’t be afraid to use non-traditional means of contacting literary agents and/or publishers. Anyone can scan the “help-books” and discover names, but if you are dedicated to being published, you will not only hone in on the “usual suspects” interested in the contemplated book, but use friendships, acquaintances, or the bartender down the street to advantage. Remember that any agency will consider Book Proposals and/or manuscripts in the following order: those submitted by clients and former clients, those referred to the agency by other agents or clients, and those arriving unsolicited.
If you know someone who has been represented by an agent, ask for a referral. Don’t be afraid to approach published authors or poets since the worst that can occur is for them to say “no.”
Meeting literary agents at writers’ conferences or conventions is a terrific way to begin a relationship. Resist the temptation to overwhelm the agent with ideas for several books. Simply make the acquaintance and then follow up with a letter or telephone call at a later date.
To attract attention to your Book Proposal and Query Letter, be clever. On the packages I sent out while seeking representation for Down For The Count, I imprinted the cover with a red stamped outline of two dogs barking. I hoped an animal lover at the agency might place my material on the top of the pile.
Remember that most agents and publishers are not receptive to receiving a completed manuscript. Instead they welcome a Query Letter and a Book Proposal. Some make it clear that if a manuscript is submitted, it will be deposited in the nearest receptacle.
A reminder—the fiction writer should have a completed manuscript ready for submission at the time their Book Proposal and Query Letter are submitted to agents, since they are less interested in works-in-progress. Remember to indicate a readiness to forward the manuscript upon request.
Literary agents are looking for new writers. They make their money by selling books and are on the lookout for terrific book ideas. As noted agent Kimberly Cameron told Writer’s Digest, “I am always optimistic every day that I am going to discover a wonderful voice.”
Entertainment Attorneys
If you decide to hire an attorney instead of a literary agent, or in addition to an agent, use caution: there are entertainment lawyers and then there are entertainment lawyers. Many general practitioners and business lawyers have read a book or taken a seminar regarding the entertainment field. They describe themselves as savvy in that arena. Beware of such animals. Check the lawyer’s credentials before retaining him or her. Request references and inquire as to their knowledge of the publishing industry.
Publishers relish the opportunity to negotiate with competent attorneys, but those unschooled in the literary world inhibit deal-making. “The worse thing that can happen,” explains Marie Butler-Knight, former publisher of Alpha Books, an imprint within Penguin Group USA, “is for the author to be represented by an attorney who isn’t knowledgeable about literary contracts.”
The Publishing Process
Publishing a book should be an exhilarating experience, but there will be bumps along the way. Adhering to Mark’s Step #6—Traditional Publishing Is A Writer’s Best Friend will help stem the tide of disappointment.
With this in mind, do your homework—the book you believe in deserves it. Choosing the right literary agent and/or publishing alternative guarantees that you are using a strategy optimizing your opportunities for a career as a published author or poet.
Summary
Research alternative means of book publishing.
Beware of Subsidy Publishers or other non-traditional publishers who promise distribution to major bookstores and libraries.
Poets beware of publishers promising publication if a certain number of books are purchased.
Instead of subsidy publishers, consider Self-Publishing alternatives.
When searching for literary agents, check The Guide To Literary Agents, Writer’s Market, and Poet’s Market.
Beware of literary agents who request payment in advance for their services.
Once you have compiled a list of likely agents and publishers, check guidelines to see what form of submission is proper.
