Tag: publishing

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Kids Lit

Help Me with My Book!

Kids Lit

As more books are published in a variety of ways (traditional, self-pub, hybrid, assisted), a whole crop of people with expertise (real or claimed!) have popped up ready to help the harried author by doing all the big and little tasks associated with preparing a book for submission. Here a just a few of the current players.

Ghostwriters

You have a great idea but no idea where to start, and not a lot of interest or talent in writing. A ghostwriter will shape your notes into the book you envision – and put your name on the front cover!

Writing Coach

You have an idea and sort of like to write but don’t know where to start or if your story is sellable. A writing coach will take you step by step through the nuts and bolts, teaching and supporting your writing.

Copy Editor

You have an idea and like to write but that whole grammar and punctuation thing is a mystery. A developmental editor will go through line by line and rearrange and correct sentences to today’s standards. They will not be looking at the overall ideas but sentence structure and correct usage.

Professional Critiques

You finished a story but don’t know if it is good or how to make it better. The professional critique will look at arc, structure, and character development and perhaps suggest other titles on the same subject or type of book to study as you work to improve.

Sensitivity Readers

You finished the manuscript but are not sure how certain topics, references, and language will be perceived by others. Sensitivity readers are experts in language and attitudes and are a guarantee to the publisher that this book will not create any issues.

Website design

You can negotiate the web but how do you set up a link or make separate pages on a website? A web page designer will develop a page with as many bells and whistles as you like to show prospective agents you are professional.

Virtual assistant

You like Facebook but IG reels, TikTok, and things “formerly known as something else” are baffling! A virtual assistant will help you select your target population, and establish, and update your social and promotional activities across media.

Endorsers and Influencers

Your manuscript is great, but no one knows who you are. You can find picture book influencers with several thousand followers. A mention or review on that post or blog gets wide attention, whatever the fame of the influencer.

Hey, this book-writing stuff could be easy!

Freelance editors, graphic designers, readers, and virtual assistants are available all over the internet. (Caveat: find someone who has personally used the service and check it out thoroughly.)

The catch: every person listed above will cost money! From $75 minimum for a sensitivity reader to $500-$750 for a ghost-written picture book. The virtual assistant works for $15-20/hour spent on your platform. Setting up a webpage initially is around $1500, and maintaining is extra.

Ask Some Questions

Do you need some help, or is the entire job done for you?

Do you just need instructions on how to do it?

Is your time for writing worth more than you will pay for the service?

Will you need this same kind of help for the next book?

Best wishes!

With over 1.7 M books sold, multi award winning author Robin Currie led children’s departments of Midwestern public libraries, but still needs help from spell check. She has over 40 published picture books and writes stories to read and read again!

Categories
Guest Posts

What is Sustainable Publishing?

Guest posts

Sustainability is a hot topic in every industry. 69% of consumers say they’ve made changes to their shopping habits to become more sustainable and 50% say they intentionally reuse more products to minimize waste. In fact, increased interest in sustainability has bolstered the second-hand book market in recent years. The compound annual growth rate (CARG) of the used book market is currently 6.6% as readers show a preference for low-waste reading options.

As an author, you can minimize your carbon footprint and increase demand by pursuing sustainable publishing options. Going carbon-neutral can help you stand out in a crowded market and may gain you a loyal following of carbon-conscious readers.

Carbon Neutral

Going carbon-neutral can be a boon for your brand as an author and could help bolster your book sales. However, you may find that actually achieving a net-zero publication is harder than it seems. Start by taking simple steps to achieve carbon neutrality like:

  • Measure: Ask your publisher to track emissions during every stage of the publishing life-cycle. This includes everything from ink usage to shipping and sales.
  • Reduce: As an author, you can reduce your carbon usage by opting for low-energy computers and energy-efficient suppliers. This will make achieving net-zero carbon use that much easier.
  • Offset: Carbon offsets aren’t a perfect science, but they do play an important role in combating climate change. Before launch, fund some projects that align with your book and appeal to your audience.
  • Communicate: Eliminating carbon emissions entirely may be impossible for you at this time. Be open and honest about your current operations and share yield analysis findings with your readers.

Going carbon neutral is a noble goal. However, you’ll need to account for every step of the writing, publishing, and distribution process if you want to truly claim to be net zero. Avoid the temptation to trump up sustainability claims, as greenwashing can undermine your brand image as an author.

Finding a Publisher

As an author, the publishing process is largely out of your control. You don’t get to decide what paper the book is printed on and may not even choose the cover of your upcoming title. That means you need to find a publisher that you trust to deliver on sustainability promises.

Even major publishers, like HarperCollins, are starting to switch to a net-zero business model. The publishing giant (which owns Penguin Random House and Simon & Schuster) has already reduced emissions by 30% over the past five years and aims to achieve a 60% reduction by 2030.

If you’re still building your brand as an author, you may want to consider a smaller publisher instead. Small-scale publishers offer higher royalties and may give you greater control over the way your book is turned from an MS manuscript to a printed book.

Before signing with a new publisher, do your research and ask them key questions like:

  • Do you disclose your carbon emissions?
  • How do you source paper for your printed materials?
  • What is your Environmental, Social, and Governance (ESG) policy?
  • What steps do you take to reduce waste and how do you measure progress?

These questions ensure that you only work with publishers who take climate change seriously. They’ll help you uncover any evidence of greenwashing, too.

Low-Waste Supply

In the U.S. alone, the publishing industry fells 32 million trees every year to produce books. This makes publishing the third-largest emitter of greenhouse gasses related to paper and pulp. Fortunately, many publishers now work with sustainable suppliers who are committed to reducing waste and recycling old books.

As an author, you can take the reins by getting involved in the process. Learn how paper recycling works and push your publisher to turn discarded paper and pulp into bags, kitty litter, insulation, or packaging. This keeps your unsold books and off-cuts out of the landfill and can significantly reduce your carbon footprint.

If you’re a new author, you may be able to pursue print-on-demand publishing. This means that your publisher will only print a single copy of your book every time an order is placed. While this isn’t an appropriate business model for bestsellers, it can be a great way to reduce costs and minimize waste if you’re selling to a niche audience in low volumes.

Conclusion

The book industry produces massive amounts of pulp and paper waste every year. As an author, you can do your part to reduce waste by opting for sustainable publishing. Sustainable publishing minimizes your carbon footprint and can mitigate most of the by-products associated with printing. Just be sure to avoid greenwashing, as this will derail your book launch and undermine your brand image as an author.

Amanda Winstead is a writer from the Portland area with a background in communications and a passion for telling stories. Along with writing she enjoys traveling, reading, working out, and going to concerts. If you want to follow her writing journey, or even just say hi you can find her on Twitter.

Categories
Book Proposals

Why Publishers Prefer Proposals

When you submit your materials, editors, agents and publishing executives prefer to read a well-crafted proposal instead of a full-length manuscript. For several years, I’ve been an acquisitions editor or the first person to read the proposal or manuscript that comes into the publishing house. I’ve interfaced with the publisher’s existing authors and talked with them about new projects. I’ve also championed many first-time authors’ proposals inside the publishing house, presented them to the publication board (the decision-making body in most houses), worked up the financial figures (an internal document which no one sees outside the publishing house), then negotiated with the author or their agent on the final contract. I have firsthand, insider knowledge about the consideration process and can give you a glimpse at how your proposal will be processed and handled.

As you think about approaching a traditional publisher, keep these points in mind:

If the publisher has been in business for some time, a key and regular part of their acquisition’s strategy is to return to their existing authors (provided these books are selling well) and ask these authors for additional projects.

If a publisher has a book with an author who has been consistently selling in the market, they have less risk of publishing another book from this same author and sell it to the audience. Like many other businesses, publishing is about managing risk. To take a completed 60,000-word manuscript and produce it into a book will cost the publisher anywhere between $25,000 and $50,000. This number isn’t a typographical error. Recently I attended the annual conference of the American Society of Journalists and Authors in New York City. One of the participants on a panel about book proposals was Brian DiForio, a New York literary agent who is a former editorial director for some major publishers. He presented to the conference some even higher production numbers, saying,

“Even with a modest advance of $20,000 to $30,000, the overall costs for the publisher are between $75,000 and $100,000. You are proposing a business decision like any proposal to a bank.”

Brian DiForio

These numbers do not include marketing or advertising expenses nor do they account for a large advance for the author (which increases the risk for the publisher). The number is pure production costs, editorial expenses and design costs for the cover and interior pages of the book.

Publishers make this type of financial investment in an author with care, forethought and wisdom—especially if they want to stay in the book business for many years.

If you are writing nonfiction children’s books, the above figure doubles. When I mention this information at a writers’ conference, I can hear the visible gasps in the room. Many parents have read stacks of 24- or 32-page full-color books to their children. They’ve seen few words on the page and probably believed they could have easily written a better book. They don’t realize, however, that the production numbers for these books can vary from $150,000 to $200,000. The reason for these costs is because when it comes to children’s books, the publisher normally purchases full rights from the artist to whoever owns the artwork in these books. In general, these artists/illustrators do not receive a royalty for their work, only a flat fee, and that price adds to the production expense.

Before I began working inside a book publishing house, I had written more than 50 nonfiction books, ranging from children to adult books. I had always worked through traditional publishers. However, I was unaware of the financial production numbers for book production, and I found it shocking—and something critical for potential authors to understand. The author never sees these figures for their books as the publisher doesn’t reveal them throughout the contract negotiation process. A publisher will produce these financial calculations as simply a part of good business practices. As an author, understanding this helped me see publishing as a business. Authors have huge amounts of time and emotional investment in their words. When I saw these production numbers, I understood that the publisher, not the author, has the largest out-of-pocket cash investment in a book.

Inside the publisher, the editor will gather a sales projection about how many copies the sales department believes they can sell of your title the first year.

That sales figure will be used to calculate the production costs of ink, paper and binding for various amounts of printing (5,000, 10,000 or 15,000 copies). As the initial print number is raised, the cost per book decreases. You may ask, so why not print a large volume each time? The answer is, if the publisher prints a large number of copies, then he has to store those copies in their warehouse (read cost and expense), plus make sure they actually sell those copies within a year’s timeframe. The cost of tying up financial resources in storing and warehousing books can become expensive. Also, the federal government taxes publishers on each copy in storage. These tax rules have forced publishers to think long and hard about how many copies of each book to print.

Inside my former publisher, we calculated the overall printing details of the book (paperback with general publishing look or hardcover with jacket) and the number of books to print before offering a book contract. In short, publishers pour a great deal of work into their books and financial projections before they call you and offer a book contract. Understanding this process helps you see some of the reasons it takes such a long time for an author to receive a publishing contract.

I know I took a brief aside to explain about the inner workings inside a publishing house. Now let’s return to my original point about book acquisition. Often the publisher returns to an author with whom they have already published a book. If the publisher takes a second or third book from the same author, they are investing in that author’s career and trying to build that author’s audience and market. If the author’s books are selling well, then the publisher will be eager for another project. Each week, publishers monitor sales numbers on their books to see if particular authors merit another book contract.

Many writers focus only on the creative aspects of writing a book and getting it published, but the executives inside a publishing house are businesspeople who want to sell books and turn a profit at the end of the day. It’s a delicate balance between creating the best possible product and assuring that each product has the best opportunity to sell into the market and reach the target audience. Book proposals are a critical tool in the decision making process and every writer needs to create one.

Terry Whalin

WW. Terry Whalin, a writer and acquisitions editor lives in California. A former magazine editor and former literary agent, Terry is an acquisitions editor at Morgan James Publishing. He has written more than 60 nonfiction books including Jumpstart Your Publishing Dreams and Billy Graham. To help writers catch the attention of editors and agents, Terry wrote his bestselling Book Proposals That $ell, 21 Secrets To Speed Your Success. Get a free copy of his proposal book (follow the link). Check out his free Ebook, Platform Building Ideas for Every Author. His website is located at: www.terrywhalin.com. Connect with Terry on Twitter, Facebook, his blog and LinkedIn.

Book Proposals That $ell, 21 Secrets To Speed Your Success
Categories
Book Proposals

A Practical Story: Why A Proposal Is Important

At a small coffee shop, I met Joe Leininger who had traded for ten years in the Eurodollar Pit of the Chicago Mercantile. In that incredible greed-centered environment, Joe thrived and made a million dollars every year for ten years and then retired. He had some strange and fascinating stories about his experiences on the Merc floor, which he began pounding out in a nonfiction book manuscript. While the writing experience was cathartic for Joe and lots of fun, he wanted a regular publisher to produce his book manuscript.

Unlike the average author, Joe had a few personal connections with some book publishers. He thought this would give his manuscript an advantage for publication, so he submitted it for their consideration. After several weeks, each package was returned with a rejection note. Without professional guidance, Joe was unsure how to get his book published and into the traditional bookstores. Because of his personal resources, he could self-publish his book and have a garage full of his work, but he was wise enough to understand that, in general, book publishing is a closed system. For your book to be sold in the bookstore, it needs to go through a traditional publisher who has a distribution channel for these stores. To test this, pick any self-publisher, go into your local retail bookstore and search for any title from this publisher on the shelf. You will be hard pressed to find much (if any) of this type of product.

I met with Joe, and he gave me a copy of his manuscript. From my reading, I could see potential, but I also spotted a key flaw. Joe included fascinating stories about his experiences in the pit, but these stories had no takeaway information for the reader. He missed passing along the lessons from his experiences to other people—whether they ever saw the crazed action on the floor of the Chicago Mercantile or not. Readers approach books from a selfish viewpoint. Every book has to answer the key question, “What’s in this book for me?”

With some prodding on my part, Joe produced a series of 16 lessons about life and success from his work in the Pit. These lessons became the backbone of the book proposal that I wrote. Eventually Broadman and Holman published our book entitled Lessons from the Pit. Each lesson became a single chapter in the book.

Every reader approach nonfiction books with the desire to learn something for himself and take away some information or insight from their reading. The material has to be told in an engaging manner, but every sentence must be written with the reader in mind. The same approach is necessary when writing a book proposal. You are writing the proposal to attract an agent or editor, and eventually the publisher. If you focus the entire book manuscript on what you want to say without thinking of the reader, it will not be a book a publisher will want to print.

Always remember one basic lesson about nonfiction book publishing: In general, publishers buy book proposals for nonfiction—not book manuscripts. I know Joe has multiple ideas and hopes to write other books. The last time I checked, he was pounding out another complete manuscript. I trust he learned this basic lesson. Certain people are doomed through their stubborn persistence to repeat the lessons from the past. If you follow the advice in Book Proposals That $ell, however, you can benefit from my long-term experience in the publishing world.

Terry Whalin

W. Terry Whalin, a writer and acquisitions editor lives in Colorado. A former magazine editor and former literary agent, Terry is an acquisitions editor at Morgan James Publishing. He has written more than 60 nonfiction books including Jumpstart Your Publishing Dreams and Billy Graham. To help writers catch the attention of editors and agents, Terry wrote his bestselling Book Proposals That $ell, 21 Secrets To Speed Your Success. Check out his free Ebook, Platform Building Ideas for Every Author. His website is located at: www.terrywhalin.com. Connect with Terry on Twitter, Facebook, his blog and LinkedIn.

Book Proposals That $ell, 21 Secrets To Speed Your Success

Categories
Kids Lit

Inside the Ten-Foot Line: Conception to Publication Part One

Kids Lit

As I wrote this article, I got an email from my publisher letting me know that the pre-order sales of my book Inside the Ten-foot Line earned three #1 bestselling banners on Amazon. Wow! Which leads me to believe I might have an insight or two to offer about the whole publishing process.

Keep in mind, every author’s path to publication differs. Some things I mention might resonate with you. Others may provide an ah-ha moment. You can also visit Kelli’s article on three lessons she learned on her way to publication.

My story is too long for a single post, so this month, I’ll explore the birth of the idea and draft process behind Inside the Ten-foot Line, and next month I’ll target what happened after the manuscript was complete.

The Idea

While there is no hard and fast rule for finding an idea for your book, write what you know is a good starting place. I took that advice and made a list of all the topics that interested me. I compared that to a list of topics that might interest my target age group to trim down my options. I mean—I know a lot bedtime routines. And while that’s a great topic for picture books, it’s less palatable for a middle grade novel, right? (Unless I work a hilarious bedtime routine into a scene where my protagonist is dealing with pimples and self-doubt.)

For me, one theme continued to rise to the top and melded well with the interests of my reader. Sports.

Question: What idea rises to the top for you?

Action: Check out another article on content issues from Kelli McKinney.

What’s Out There

Where does your idea fit in the current market? What other books will sit on the shelf next to yours? I found my answer in the local library. Sports had its own special identifying sticker and location in the building, making it easy for me to pull down and compare titles. Books geared for male athletes dominated the genre. However, even though the niche offered only a handful of books for female athletes, the market showed recent growth. And that was promising.

Question: Does your book can fill a gap in the market?

Action: Visit a library and look for books with a similar idea to yours.

Know the Genre

Determined to balance the scales, I read through several books, looking for similarities in plot, mood, and resolution. Most used sports as a setting to deal with larger social or emotional issues. After dissecting a whole stack of novels, I had a good idea of how to move forward.

Question: What genre are you writing? Contemporary? Speculative fiction? Historical fiction?

Action: Do your research. Take time to read books you will find next to yours on the shelf.

Write the Story

I wrote an outline for the plot using one paragraph descriptions for each chapter. Then I took one summary at a time and expanded it into a full chapter. This loosely structured approach left room for my characters to nudge (or throw) the story in a new direction. And trust me—when they take on a life of their own, they will! When that happened, I could easily go back to the summaries and adjust the plot accordingly.

Even though my book addresses social issues, I also made sure to pack plenty of sports action into the plot. In that way, I catered to my target audience.

Question: Will your story be written in first or third person?

Action: Create a detailed outline for your story.

That’s where the series started for me. How about you? Stop back next month to find out what happened after I completed my manuscript.

Elementary school teacher Lori Z. Scott usually writes fiction. Her down time is filled with two quirky habits: chronic doodling and inventing lame jokes. Neither one impresses her principal (or friends/parents/dogs/casual strangers), but they do help inspire her writing. Somehow, her odd musings led her to accidentally write a ten-title bestselling chapter book series and on purpose write over 175 short stories, articles, essays, poems, and devotions. Lori enjoys speaking, leading workshops, and visiting local elementary schools to share her writing journey. Follow her on Instagram @Stories.by.Lori .

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Writers Chat

Writers Chat REcap for April Part 1

Writers Chat Recap

Writers Chat, hosted by Jean Wise, Johnnie Alexander, and Brandy Brow, is the show where we talk about all things writing, by writers and for writers!

“Because talking about writing is more fun than actually doing it.”

Writing Inspired by Travel

On this episode of Writers Chat, Johnnie Alexander and a few of her travel buddies, share their experiences on the Serious Writer Italy Tour. The not only share the exciting things that happened, but also the truth about traveling abroad—like missing flight connections—and about looking for the silver lining during such challenges. Be sure to check out this week’s replay for lots of great stories and inspiration.

Watch the April 4th Replay

7 Things I See Differently From the Publisher’s Side of the Desk

Michelle Medlock Adams, acclaimed children’s writer and now acquisitions editor for Wren and Bear, the children’s literature imprint for Endgame Press, shares how thing are different from the publisher’s point of view. She discusses having realistic expectations of the editor’s role, understanding the editorial process, the importance of deadlines, the author/editor/agent relationship, and advice for debut novels. We also talk about marketing.

Watch the February 11th replay.

Michelle Madlock Adams is a NY Times Best-selling ghostwriter and an award-winning author of more than 100 books including, Fly High, Our God is Bigger Than That! and Dachshund Through the Snow. Michelle is married to her high school sweetheart, Jeff, and they have two married daughters, six adorable grandchildren, two diva dachshunds, and two kitties. Visit michellemedlockadams.com for more info.

Writers Chat is hosted live each Tuesday for an hour starting at 10 AM CT / 11 AM ET
on Zoom. The permanent Zoom room link is: http://zoom.us/j/4074198133

Categories
Book Proposals

Will An Editor Fix All My Mistakes?

Among writers in the publishing community, there is a false belief that my submission does not have to be perfect because the editor will fix any mistakes. After all, isn’t that what editors do?

While I’ve been an editor for decades, I’ve also been a writer. I believe it is important for writers to understand some of what editors’ face. A key responsibility for every editor is to produce the best possible magazine or book for their company. They want every publication to be as excellent as possible. In their search for content, they are looking for the best possible writing for their particular audience. To catch their attention, you want your submission to be a fit for what they need and as enticing as possible.

           “You only get one chance to make a good first impression.”

An old yet true saying,

The first impression from your submission is a critical factor. As a writer, you do not want to be missing some crucial element for the editor. The hardest missing element to find with your submission is something that is not there.

Another important element for you to know about editors is many editors are not writers. Yes, they write emails or guidelines but they do not write for publication (magazine or books). Their expertise is in management of workflow and excellent editing skills. Also, a number of my editor colleagues do not teach workshops at writers’ conference. It is simply not in their skill set. These individuals can recognize excellent writing and can adjust your writing but not create it in the first place which is a different skill.

Recently I spoke with a bestselling author and asked about her forthcoming books. She admitted that she had no forthcoming books because she had not written a book proposal or made a pitch through a query letter. If you want to be published at a magazine or publisher, you have to learn how to craft an enticing book proposal or query letter then be pitching it consistently until you find an editor who is interested. Every magazine and publisher has expectations about what they need. They spell out these expectations in their guidelines which are often on their website. The simple steps are to study their guidelines and what they publish, and then send the editor what they need.

While writing is a creative endeavor, publishing is a business.

As you understand the business, marketing and selling aspects of publishing, this information will feed into your submission and you will become more of the type of writer that editors want to work with and publish.

I’ve been in some of the top literary agencies and publishers in the United States, the good news is every one of these professional colleagues are actively looking for quality writing—whether they send you a response or not. Each personal is actively reading their email and their physical mail looking for the right fit.  If you write what they need, you could be the next person that they publish.

Terry Whalin

W. Terry Whalin, a writer and acquisitions editor lives in Colorado. A former magazine editor and former literary agent, Terry is an acquisitions editor at Morgan James Publishing. He has written more than 60 nonfiction books including Jumpstart Your Publishing Dreams and Billy Graham. To help writers catch the attention of editors and agents, Terry wrote his bestselling Book Proposals That $ell, 21 Secrets To Speed Your Success. Check out his free Ebook, Platform Building Ideas for Every Author. His website is located at: www.terrywhalin.com. Connect with Terry on Twitter, Facebook, his blog and LinkedIn.

Book Proposals That $ell, 21 Secrets To Speed Your Success.

Categories
Book Proposals

When Your Book doesn’t Sell

I used to cringe when I saw the mail or email from one of my publishers. It probably contained a royalty statement and experience told me many of those numbers would begin with a minus (negative balance). I’ve written for many different traditional publishers and have had this experience from a broad spectrum of types of books including how-to, self-help, biographies, gift books and children’s books.

When your book sales are off, it’s a natural tendency to want to blame someone. Maybe my editor has left and my book was orphaned inside the publisher with no champion or advocate. Maybe my publisher didn’t market the book to bookstores. Maybe they changed the title between what was printed in the catalog and what was published. Or _(fill in the blank). I’ve had all of these things happen to my published books. Good publishing involves a cooperative process and working with many different people. Much of this process is outside of the author’s control.

I’ve also learned there are many pro-active steps authors can take to change their situation.

1. Take 100% responsibility for your own success.

In The Success Principles, Jack Canfield makes this the first principle. Over ten years ago, I heard this
principle and adopted it in my publishing efforts.

2. Be active in the promotion and marketing of your book.

As the author, you have the greatest passion for your book—way beyond anyone else including your publisher. The great promoter, PT Barnum said, “Without promotion, something terrible happens—nothing.” Consistent promotion of your book is important.

3. Be Generous with your book.

Reviews sell books but many authors have few reviews for their book on Amazon or Goodreads or Barnes & Noble. Give books to people who are willing to write a review. If they’ve never written a review, give them a tool to help them like with this form.

4. Ask for others for help.

“You do not have because you do not ask.”

New Testament, James 4:2-3

If you need endorsements, ask but make it easy for them to say yes (offer to draft it). If you need social media promotion, ask but create possible posts. Here’s an example of a page, I created to help others help me spread the word on my latest book.

5. Take the long view of publishing.

Publishing and promoting a book is more like a marathon than a sprint. With the huge volume of published books, someone has to hear about your book seven to twelve times before they purchase it. What actions can you take every day to give your book this exposure? My Billy Graham book trailer has been seen over 11,500 times in the last five years.

6. No matter what happens in your life, keep going.

In Perennial Seller, New York Times bestselling author Ryan Holiday writes,

“The hard part is not the dream or the idea, it’s the doing.”

If there were a simple formula to create a bestseller, every book would be a bestseller. There are practical actions every author can take. Each part of the publishing process has challenges and as writers your persistence and consistency is critical. As #1 New York Times bestselling author Jerry B. Jenkins wrote in the foreword of my book, 10 Publishing Myths, “Only one of a hundred writers literally make their deadlines.” If you meet deadlines with quality writing, it’s an easy way to stand out from the crowd. I wrote 10 Publishing Myths to give writers realistic expectations and practical steps every author can take to succeed. Today, you can get the 11th Publishing Myth as a free e-book.

When you point a finger at others because your book is not selling, just
remember: when you extend your pointer finger, four more fingers are bent back
toward you. Take action today.

What actions can you take today to continue to build your sales potential?

Terry Whalin

W. Terry Whalin, a writer and acquisitions editor lives in Colorado. A former magazine editor and former literary agent, Terry is an acquisitions editor at Morgan James Publishing. He has written more than 60 nonfiction books including Jumpstart Your Publishing Dreams and Billy Graham. To help writers catch the attention of editors and agents, Terry wrote his bestselling Book Proposals That $ell, 21 Secrets To Speed Your
Success. Check out his free e-book, Platform Building Ideas for Every Author. His
website is located at: www.terrywhalin.com. Connect with Terry on Twitter, Facebook, his blog and LinkedIn.

Book Proposals That Sell
Categories
Book Proposals

Get Connected to Publishing People

Within the publishing community, who you know is almost as important as what you know. Yes, it is important to pitch an excellent book proposal or manuscript to the right publisher. As an editor and an author, I also understand people buy (books or manuscripts) from people they know, like and trust. How can you know more publishing people? From my years in publishing, one of the challenges is keeping track of the moving people.

            As a writer, I’ve written two proposals which earned a six-figure advance. Years ago, one of my six-figure book deals was cancelled because my New York editor had changed companies. When your editor leaves the publishing house, then your book becomes an “orphan” and as an author you lose your internal champion for your book. Through this hard-earned personal experience, I learned how each book needs an editor who is your champion for the book.

            How does a new author with no connections, begin to get connected to publishing people? Everyone can use a social network which has over 66.8 million active monthly users: LinkedIN. This network is primarily business related and publishing is a business.

To get connected, you need to take several actions:

  1. If you aren’t on LinkedIN then join today and fill out your profile including with your photo.
  2. Rework your LinkedIN profile to show your activity in publishing. Do you write for magazines? Have you published books? Or possibly you have some other explicit publishing role such as leading a local writer’s group. If you have these types of qualifications, then add them to your LinkedIN profile.
  3. Begin to send connection requests to different people in publishing. These people could be book editors, literary agents, magazine editors, authors and many other roles. In some cases, you will want to send them a little personalized message with your connection invitation. In other cases, you simply send out the generic invitation that you want to connect with the person.

For many years, I received LinkedIN invitations and ignored them. I had very few connections on LinkedIN and was not connected. Then I began to look at the background of the person and for most people, I accepted their invitation to connect. My number of connections increased and my public profile says the common “over 500 connections.” The real number of my LinkedIN connections, as of this writing, is over 19,400. I understand the upper limit is 30,000. These connections are varied with many different roles (mostly within publishing) Here’s the critical reason you want to be connected: when I need to reach someone that I’ve not emailed or called in a long-time, I check their LinkedIN contact information.

While there is a lot of movement within the publishing community, when they change positions or companies or physical location, everyone takes their LinkedIN account with them. This account belongs to the individual and is a way to consistently keep up and reach them. I’ve gone decades and not connected with some people, then I use their LinkedIN contact information to reconnect with them for a specific purpose such as I have a new book and would like to have their endorsement. I’ve found I can often reach these publishing leaders through LinkedIN.

LinkedIN has a lot of other functions as well but being connected and maintaining those connections is one of the basics and best reasons to consistently use this network. 

Terry Whalin

W. Terry Whalin, a writer and acquisitions editor lives in Colorado. A former magazine editor and former literary agent, Terry is an acquisitions editor at Morgan James Publishing. He has written more than 60 nonfiction books including Jumpstart Your Publishing Dreams and Billy Graham. To help writers catch the attention of editors and agents, Terry wrote his bestselling Book Proposals That $ell, 21 Secrets To Speed Your Success. Check out his free Ebook, Platform Building Ideas for Every Author. His website is located at: www.terrywhalin.com. Connect with Terry on Twitter, Facebook, his blog and LinkedIn.

Book Proposals That $ell, 21 Secrets To Speed Your Success.

Categories
Guest Posts

All About Publishing A Photo Book As a Photographer

Guest posts

Living in the high-tech age means storing all your best moments on devices. Although technological progress promotes photos to look better and better on screens as time passes, this still makes paper photo books only more valuable. Even the most high-quality digital picture can’t replace the feeling of paging through the book and the emotions evoked by that process.

To publish your own photo book can be pretty challenging since it requires clear understanding, profound research, and a well-thought-out strategy. But, no matter whether you target presenting an essential personal project or your top-notch shots for engaging leads, there are plenty of ways to create an impeccable photo book. That way, our core task is to cover how to craft a selling self-published photo book. So let’s consider the most efficient tips to make it a roaring success.

1.  Exploring Self-Publishing Resources

Before immersing yourself in independent publishing, it is worth undergoing some workshops. It will give you priceless insights into the process from A to Z and warn you about potential pitfalls. In addition, there are numerous platforms where you may educate yourself and find out the best ways to select, store and sequence your shots for the book. For example, such hottest courses hosted by New York’s ICP, Maine Media and Anderson Ranch will doubtless point you in the right direction.

2.  Overall Concept

Another crucial point that may influence the final outcome is defining the subject, which will be cross-cutting the whole photo book and the audience who might have an interest in it. Decide on the key idea and make a specific photo editing plan based on it. The best practice would be to review related blogs. That way, you will kill two birds with one stone: get needed inspiration and reveal sites for your book’s further promotion. See for yourself lifestyle blogs that accept guest posts.

3.  Editing and Sequencing Shots

As practice shows, it stands as the most daunting part of photo book publishing as a photographer. This is because you should thoroughly think about what to include and miss out on. Besides, make sure the photos correlate with the book’s written description. No less significant is to realize that pictures’ consistency aims at telling some story or conveying specific messages.

If you know the approximate number of pages, it may incredibly aid in narrowing down shots selection. It also needs to consider if images match each other by palette, subject, general idea and size. The last point is often decisive since sometimes it is better to mix up different sizes, giving viewers a visual break and making a photography book unique. Repetitive pictures aren’t always a win-win option, so try to cut down on them even if they are high-quality equally. You can also use outsource photo editing company to save your time and to avoid some photo retouching work.

4.  Textual Filling

The golden rule to remember if you strive to publish your own photo book is to describe the project at the very beginning. Create an appealing statement from your artistic perspective and outline your work’s essence and what you wish people to pay attention to while looking at your pictures. Some photographers resort to the services of experts for crafting text. However, no one knows your workpieces better than you and sometimes, even grammatically flawless text can’t arouse any feelings as there is no artist’s touch.

In addition, don’t neglect font style. You may wonder how it impacts, but in some cases, the right fonts can extremely engage the audience and sky-rocket photo book sales. Visit fontsarena.com to learn more about this.

5.  Printing

You can’t surely do without such a component as printing to craft the best self-published photobook. The printer choice is vital, so you must research and monitor recommendations to find your cup of tea. Especially, look over the book’s specifications and what printer kind may suit the most. There are commonly two variants – offset printing and digital printing. You should make up your mind, relying on your ultimate goals. If you are already a well-known photographer and intend to volume quantities, then offset printing is just the thing. And opposite, in case you only have started building successful career in photography, opting for digital printing will perfectly fit.

Frank Hamilton is a blogger and translator from Manchester. He is a professional writing expert in such topics as blogging, digital marketing and self-education. He also loves traveling and speaks Spanish, French, German and English. Meet him on Facebook and Twitter.

Categories
Book Proposals

Looking For Authors Who “Get It”

            Editors and agents are blasted with submissions every day. I know because I’ve been one of them for years. Authors are frustrated receiving form rejection letters with no information or response at all. To many authors, it is a mystery how their submission is “found” and published.

            For the last ten years, I’ve been an acquisitions editor for a New York publisher who receives over 5,000 submissions a year and only publishes about 180 to 200 books. Yes there is a selection process for every author and every book. Here’s the encouraging news for authors: every day I’m actively looking for authors. Also I understand every day over 4,500 new books are published. This large number includes the self-published books which may only sell 100 copies during the lifetime of the book. This statistic helps authors understand the massive amount of new material constantly entering the marketplace. It also explains why you as an author have to be promoting and marketing your book.

            How can you get the attention of an editor or agent?

I want to give five ways to show you are an author who “gets it.”

  1. Submit an excellent proposal or manuscript. Editors and agents can recognize excellent writing. The old saying is true, “You only get one chance to make a good first impression.” Every author needs to pour polish and storytelling into their submission. Yes it is easy to reach people via email. Before you hit send, your submission should be excellent. Use my free book proposal checklist at: http://terrylinks.com/bookcheck It works for nonfiction and fiction.
  2. Follow proven author practices. While there is not a bestseller formula for success, there are proven author actions. Every publisher and literary agent is looking for authors with connections or a platform. Pick up my free ebook, Platform Building Ideas for Every Author at: http://terrylinks.com/pb
  3. Take action every day to learn more about publishing and build your market connections. Join a writers group or organization and get involved.
  4. Understand the various types of media and do not build your platform on “rented” media (Facebook, Twitter, LinkedIn are examples). Start and maintain your own blog and email list to reach your readers.
  5. Diversify your writing business. Write and sell information products. Learn about affiliate income. Write for magazines. Don’t put all of your efforts into one type of writing. As a writer, there are many different possibilities. Get ideas from my first chapter of Jumpstart Your Publishing Dreams at: http://terrylinks.com/JYPD If I can help you, reach out to me. It’s why my personal email is in my Twitter profile.

As an author, I’ve been inside some of the top publishers and literary agencies. Every professional is actively looking for the next bestseller. The path to your success is out there.

Take steps every day to show you are an author who “gets it.”

Terry Whalin

W. Terry Whalin, a writer and acquisitions editor lives in Colorado. A former magazine editor and former literary agent, Terry is an acquisitions editor at Morgan James Publishing. He has written more than 60 nonfiction books including Jumpstart Your Publishing Dreams and Billy Graham. To help writers catch the attention of editors and agents, Terry wrote his bestselling Book Proposals That $ell, 21 Secrets To Speed Your Success. Check out his free Ebook, Platform Building Ideas for Every Author. His website is located at: www.terrywhalin.com. Connect with Terry on Twitter, Facebook, his blog and LinkedIn.

Book Proposals That $ell, 21 Secrets To Speed Your Success.

Categories
Writers Chat

Writers Chat Recap for August, Part 2

Writers Chat, hosted by Jean Wise, Johnnie Alexander, and Bethany Jett, is the show where we talk about all things writing, by writers and for writers!

“Because talking about writing is more fun than actually doing it.”

Writers Groups and Podcasting with Britt Mooney

In this episode of Writers Chat, Britt discusses how his writing group decided to do a collaborative podcast, Brew and Ink. He also shares some technical parts of hosting a podcast, and gives great tips for writers wanting to start a podcast. If you’ve thought about starting a podcast or are curious about the work (and fun) that it takes to be a successful podcast, be sure to check out this week’s episode.

Watch the August 18th replay.

Never Too Late to Break Into Publishing with Deborah Coty

Deborah is an award-winning author and motivational speaker. In this episode she shares her writing journey as a “late bloomer”. While juggling two careers (orthopedic occupational therapist and piano teacher) While in a waiting room, Deb saw an ad in a magazine for a writing contest which put the desire in her heart to begin a writing career at the age of 45. Her story is funny, light hearted, and encouraging. Deb is a great reminder that it is never too late to try and succeed at something new. Check out this week’s show and be encouraged.

Watch the August 25th replay.

Bios

Debora M. Coty is a motivational speaker, newspaper columnist and multiple award- winning author of more than 40 books, including the bestselling Too Blessed to be Stressed inspirational series, currently with more than 1.2 million books copies sold in multiple languages worldwide. She joins us today on Writers Chat to talk about her writing journey. A “late bloomer,” Deb began her professional writing journey at age 45, while juggling duo careers as an orthopedic occupational therapist and piano teacher. Deb is a tennis addict, hiking enthusiast and choco-athlete (the step beyond chocoholic; means she exercises just so she can eat more chocolate). She lives, loves and laughs in central Florida with her longsuffering husband of 40+ years, two grown children and five precocious grandpals. Join Debora’s fun-loving community of BFFs (Blessed Friends Forever) at www.DeborahCoty.com  

MB “Britt” Mooney, a hybrid author of Christian nonfiction and Fantasy Fiction, joins us today to talk about combining writers groups with podcasting. Britt and writer Steven Faletti are the creative minds behind the Brew and Ink podcast which creates stories based on audience feedback. In this episode, Britt talks about the collaborative Brew and Ink podcast, covers a few technical aspects of hosting a podcast, and shares advice and tips for writers who want to get into podcasting. Britt is also a church planter who works bi-vocationally at a missional coffee company. He is married to the amazing Becca; they and their three amazing kids go on many adventures in the Atlanta, GA area. Find out more about the Brew and Ink podcast at https://www.facebook.com/BrewandInk/

JOIN US!

Writers Chat is hosted live each Tuesday for an hour starting at 10 AM CT / 11 AM ET on Zoom. Here’s the permanent Zoom room link. 

Additionally, you can grow your network and add to the conversation by joining our Writers Chat Facebook Group.

Categories
Book Proposals

We’re All Struggling

We’re all struggling in this craziness, but one thing is sure, we are writers! We push on and don’t allow circumstances to prevent our stories coming to life.

Each day the news is different, and depending on who we listen to, either good or bad. Print sales are up, print sales are down. Ebooks are soaring, Ebooks have tanked. Self-publishing is the only way to go in this climate. Self-publishing will only drain you financially and emotionally. And it’s all Corona’s fault.

It only takes two minutes to open social media or a literary report to give us goosebumps from head to toe. And … cause us to question our chosen vocation. It’s tough to work on a project for a year or more, only to learn at the end of it that we might not be able to sell it.

This latest setback, the novel virus—we all know that has nothing to do with our kind of novel, has contributed to some interesting fluctuations in the market. So much so, that the very weak of heart have given up. But let me explain something. Those who aren’t in this crazy writers’ life for the long haul will use any excuse to give up. ANY excuse. Did you hear that?

They don’t like my work. I got three rejections in one day! I have to make a living (yes, a very valid reason, but if you can squeeze in just twenty minutes a day to write while keeping your day job…). It’s a LOT harder than I thought it would be.

If this crazy lock down did one thing, it’s this: it actually gave a lot of folks more time to write instead of less. And if not, then you’re no worse off than you were before. But write you must! Yes, there I said it. IF you are truly a writer, you have to write as surely as you have to breathe, and nothing … did you read that … nothing will stop you.

Artsy vocations aren’t like going to the bank from nine to five and pulling in a steady paycheck. Artsy vocations: theatre, sculpting, writing, painting, photography, etc., are not five days a week careers. They are 24/7/365 vocations that come from the heart. While you can learn to do all of these things, for true diehards, there is an uncontrollable itch inside that births the desire to create.

Few people wake up one day as a child and just know they must grow up to be a banker. But many children feel that tug to act, paint, or write. They set up stages in the family garage and act out Grease over and over until they are prolific with the songs and dialogue for each and every character. Others start writing stories as soon as they can string words together. And still others might paint/draw incredible concepts early on. This, my friends, comes from the heart. Not from classes, not from books, but from the heart. And THOSE individuals must pursue their art form, as I said, as surely as taking one breath after another.

Okay, nice philosophy, but do I really believe that? Should you really believe that?

Absolutely! If I quit writing altogether, a part of me would shrink (just like muscle atrophy when we stop moving), and I’d wither like a flower on a vine. I need—you need to be creative. We were made that way. As writers, we can’t look around us without seeing stories unfolding. We can’t sit at a keyboard and play games when there are voices in our heads begging to be released so they can tell their stories.

Do NOT allow these crazy, troubling times to become an excuse to sit back and give up. Only you can successfully tell the story or bring to life the information that has been woven into your heart. Don’t give up. Your story or article or memoir might be the very thing that helps another life grow into what he or she is meant to be. You never know who your writing will touch or why. In this lifetime, all you can do is write and assume you are helping to make a difference.

Press on and create. Let nothing … nothing … stop you.

Linda S. Glaz is an agent with Hartline Literary Agency, and also the author of eight novels and two novellas, so she “gets” writers. She represents authors in both the Christian and secular communities. She speaks at numerous conferences and workshops around the country each year. Married with three grown children and four grands, she lives in a small town where everyone is family.

Categories
Book Proposals

Why Every Author Needs A Proposal—Even If You Self-publish

A New Year always brings a chance to start over and begin in a new direction. This year (2020) is especially different because everyone begins a new decade. Self-publishing is growing in leaps and bounds with 1.6 million self-published books last year. What is often NOT said about these books is that on average they sell 100-200 copies during the lifetime of the book.         

            Many people wrongly assume book proposals are only written to find a literary agent and go the traditional publishing route. From my experience after years in publishing, every author needs to create a book proposal—whether they are writing fiction or nonfiction—whether they are going to a traditional publisher or going to self-publish.

            I understand self-publishing is throughout the publishing community. Authors can take action with no screening or review process. Nor do you have to create a book proposal or find a literary agent. Yet the average self-published book is competing for attention with thousands of other authors. Penny Sansevieri, CEO and Founder of Author Marketing Experts, Inc. in San Diego, said, “Remember there are over 4,500 new books published every day.” She got this number from several sources including R.R. Bowker (that issue ISBNs for books).

            Even if you self-publish, you need a book proposal to create the business plan for your book. As you write the various proposal elements, you will pinpoint the audience for your book, your marketing strategy how you will reach them, and why you are the best to write such a book. There are more details to a proposal included in my free Book Proposal Checklist. I write about this aspect in much more detail in my new book, 10 Publishing Myths, Insights Every Author Needs to Succeed. In fact, self-publishing is one of my chapters in the book: Myth: Self Publishing Is the Best Way to Get My Book Out into the Market. You can get a taste of the book and the 11th Publishing Myth (not in the book) at this link.   

Many writers resist the hard work to craft an excellent proposal. I’ve written many proposals and understand the hard work that goes into creating each one. When completed, you will have a solid plan for your book and a path to success. If you do the work, you will be equipped with your plan to write and sell your book to a specific hungry audience.

W. Terry Whalin, a writer and acquisitions editor lives in Colorado. A former magazine editor and former literary agent, Terry is an acquisitions editor at Morgan James Publishing. He has written more than 60 nonfiction books including Jumpstart Your Publishing Dreams and Billy Graham. To help writers catch the attention of editors and agents, Terry wrote his bestselling Book Proposals That $ell, 21 Secrets To Speed Your Success. He answers to your proposal questions at: www.AskAboutProposals.com.

Check out his free Ebook, Platform Building Ideas for Every Author. His website is located at: www.terrywhalin.com. Connect with Terry on Twitter, Facebook and LinkedIn.

Categories
Magazine and Freelance

Writer’s Block Or Submission Block? Play to win the Publishing Game

We came. We pitched. Did we send?

Writer’s conferences are well-planned days of speakers, workshops, and opportunities. After pitching themselves and their beloved projects, many writers leave their meetings with agents, editors, and publishers, clutching close a business card and those much sought after words, “Send that to me. I’d like to take a look at it.”

Perhaps you submitted a query or proposal and received the coveted invitation to submit your manuscript.

Editors report that they often never see the projects they invite writers to send. 

There are two types of writers. Those that submit for publication and those that don’t. In the writing industry, the difference between players and spectators is frequently determined by who takes the next step. 

While the unpublished group may claim writers’ block, professional writers are adamant that writers block is as mythical as Nessy the Loch Ness Monster. 

“A professional writer doesn’t wait for inspiration anymore than a professional plumber waits for inspiration to lay a pipe.”

John Erickson

After spending his first forty years as a Texas cowboy, John Erickson is the author of 60 some Hank the Cowdog books. “A professional plumber knows some principles like you don’t lay a pipe uphill or in frozen ground but he lays that pipe. Professional writers write. I write four hours a day seven days a week because I’m fanatical about that because that’s what I do.”

Batter Up

Are your projects stuffed in a drawer, or stored on computer files? Submission block is like a batter that refuses to swing. Opportunities wing past. 

What are you afraid of? Rejection? Success? Both? Taking action that will change the status quo of your life? Is the dream of one day being a published author greater than your courage to go after it?

Even a rejection proves you are in the game. A participant rather than a spectator. A “no, thank you,” is not calling your baby ugly. It is a step closer to connecting with the agent or publisher that shares your passion for the project. It is valuable feedback. Behind a “no” is generally three plays. 

  • The piece does not fit with the purpose of the publisher. For instance, a publisher of non-fiction books is not interested in novels. 
  • There are similar projects already available or in process. 
  • The writing needs improvement.

A homerun response is an enthusiastic yes followed by that favorite call, “Check enclosed.” 

Get in the Game

If submission block is keeping you out of the publishing game, here are moves to get you playing:

  • Accountability. Tell someone you will submit on or before a specific date. 
  • Submit your best work knowing it may not be perfect. 
  • Approach an editor as an eager team player. Be coachable.
  • Like athletes, writers improve with practice. Every time you submit, you take a swing at the ball. 

Betcha’ a cold ballpark hot dog and warm soda that your publishing home run average improves when you submit your work. 

PeggySue Wells is the bestselling author of 29 books including Slavery in the Land of the Free, The Girl Who Wore Freedom, Chasing Sunrise, and Homeless for the Holidays. Connect with her at PeggySueWells.com

Categories
Writers Chat

Writers Chat Recap for November Part 1

Writers Chat, hosted by Jean Wise, Johnnie Alexander, and Bethany Jett, is the show where we talk about all things writing, by writers and for writers!

“Because talking about writing is more fun than actually doing it.”

The Writer’s Toolbox with Rhonda Dragomir

Buckle your seat belts for a high speed episode of Writers Chat. Rhonda Dragomir puts the pedal to the medal in order to get through her long list of tools writers should have in their toolbox. Just as racecar drivers need pit crews with the right tools, writers need the right tools, too. Not only does Rhonda share resources with us, but she takes us to several websites and shows us how to use that site. Rhonda has won numerous awards for her writing including Serious Writers Writer of Year. Don’t let this episode pass you by.

Watch the October 29th replay.

For resources check out this week’s Show Notes and Live Discussion.

Content Creation: Become a Publishing Group with Bethany Jett

In this episode, Bethany shares how three big companies reach people by having a people focused, instead of company focused, marketing strategy. The companies are Red Bull, with a small target niche; L’Oreal, has a higher end target with great community outreach; and Wendy’s, with a fun snarky campaign. While sharing the great marketing strategies of these companies Bethany also discusses content six. If you need a little help with content, marketing, or both, this is the episode for you.

Watch the November 5th replay.

For more information check out this week’s Show Notes and Live Discussion.

JOIN US!

Writers Chat is hosted live each Tuesday for an hour starting at 10 AM CT / 11 AM ET on Zoom. Here’s the permanent Zoom room link. 

Participants mute their audio and video during the filming then we open up the room for anyone who wishes to participate with our guests. The “After Party” is fifteen-minutes of off-the-record sharing and conversation.

Additionally, you can grow your network and add to the conversation by joining our Writers Chat Facebook Group.

Categories
Mastering Middle Grade

You Wrote a Middle Grade Book. Now What?

You had an idea. You wrote. You slept. You wrote some more. You edited. You cried. (Just me? Oh. Okay. Never mind.) You shared. You revised. You reviewed. 

Now you wonder: How does my story magically leap from my hard drive to the shelf?

If you’ve already bought your copy of Writer’s Market, kudos to you. But if you’ve drafted a generic cover letter that you’re ready to send to every children’s publisher, editor and agent listed, I’d like to politely ask you to pause a moment. Put the postage stamps away, and keep reading. It’s going to be okay.

Ask yourself some tough questions:

1) Is the story well-told?

2) Is it within the generally recognized middle grade word count?

3) What books currently on shelf is it most like?

4) What makes yours different?

5) Who should read it? (the answer is NOT ‘everyone.’)

I want to talk about item number one, is the story well-told?

Of course you’re going to say ‘yes.’ You believe in your story (you should).

But the truth is, you need other writers to help you make this determination. You need a critique group, or an editor, to read your story and help you shape it into the best it can be. Make sure this happens before you begin the submission process.

Your critique group or editor will find plot holes, characterization issues, and continuity issues. They will find any awkward word choices, filler words, or phrases that don’t make sense to this generation of readers. You need this feedback, even when it’s hard to hear. It’s given with the desire to see your story on shelf.

Once you have received feedback and revised, and you can answer the rest of the questions above, you’re ready for the next steps in the process.

If you plan to self publish, at a minimum you will need to know:

1) how to format your manuscript for print and e-reader.

2) how to choose cover art

3) how to market your book

Click here and here for some additional excellent resources.

If you plan to pitch your book to agents and editors, you will need to:

1) research so you find the best agent/editor fit for your story

2) write a concise, persuasive query letter

3) possess patience by the bucket – this can be a slow process

4) separate yourself from your work – rejection is a normal part of the path to publication, not a reflection of your worth as a person.

The fact that you’re reading this is a great start. For what it’s worth, I’m traveling this road with you. AlmostAnAuthor has a number of resources that have helped and encouraged me along the way. What questions do you have? Let us know in the comments and we’ll find an answer for you.

Kell McKinney earned a B.A. in journalism from the University of Oklahoma and an M.S. in documentary studies from the University of North Texas. She’s a part-time copywriter, double-time mom and wife, and spends every free minute writing and/or hunting for her car keys. Connect with her on Twitter @Kell_McK or kellmckinney.com.

Categories
Guest Posts

Collaborative marketing—the future for authors

It’s never been easier to get your book published. But easy access to publishing creates challenges of its own.

With millions of titles uploaded to various self-publishing platforms on a regular basis, authors must radically reshape their approach to book marketing in order to see an increase in sales. An innovative approach to increasing exposure is collaborative marketing.

There’s nothing new about the idea of collaboration. It’s been a key element of writing for centuries. But the idea of marketing collaboratively, instead of individually, is a successful business technique that authors need to embrace.

Simply put, collaborative marketing, or co-marketing, is a strategy that involves working with similar companies or individuals to promote a brand while driving down costs.

Evidence for collaboration’s power in the business world is all around us. An appliance manufacturer rents space from a wholesale retailer. A certain brand of sneakers teams up with a sports drink manufacturer to advertise their product more efficiently. When the cost of advertising is shared, the potential profit for both parties increases dramatically.

While many authors may collaborate, in the sense of doing a guest blog or endorsing the book of another author in a similar genre, our vision of collaboration needs to be expanded. Co-marketing must become a major tool in the writer’s toolkit in order to more effectively convince readers to purchase a book.

For authors, collaborative marketing can largely take two forms: working with readers and working with other authors.

Let’s look at working with readers first.

The age of social media has fundamentally revolutionized marketing by putting consumers—or, in our case, readers—in the driver’s seat.  Huffington Post writes, “marketers {think authors} now need to develop deep relationships with their core consumers so they can easily inform an idea with them and motivate people to advocate for their brand.”[1]

We are all aware that readers (consumers) wield immense power that can encourage, or discourage, other readers from making a purchase. But what about engaging readers beyond the book? Getting readers to engage with your characters, or the topics you present, exponentially increases your ability to reach your target audience.

For example, if your book offers strategies for time management, you might consider holding contests in which entrants share how they boost productivity during the holidays. By engaging with readers in a way that directly relates to your book, you create a unique partnership with the consumer that can result in user-generated content, more online chatter about your book, and ultimately, more sales.

User-generated content is a prime example of collaboration with readers. Can you provide opportunities for readers to engage with your characters or post pictures relating to themes from your book on YouTube, Instagram, Twitter or their blogs? Even better, encourage them to share content with you so you can repost their content on your social media channels. Be sure to secure their permission.

When your readers are generating content about your book, they’re promoting your brand, leaving you to do what you love best—writing more books!

The alternate form of collaboration is to form partnerships with other authors.

Think, for a minute, about a concert you attended or perhaps a song you listened to recently. Chances are there was more than one musician playing. You could argue that each musician is in competition with the others as they all want to be heard. But, by working together, the musicians create something more solid and mask any imperfections.

The same can be said of collaborative marketing among authors.

This year my company, Logos Publications, launched a revolutionary collaborative marketing strategy called Catch Fire TM. Catch Fire TM is a subscription-based, marketing program that promotes a website on which all author-subscribers can list up to three books.

Catch Fire TM promotes collaborative marketing by sharing adverting costs and by creating a community of authors which can result in stronger products and potential sales. For more information, visit www.logospub.com.

As the efficacy of competitive marketing dwindles, author-entrepreneurs must look to the future. And that future’s name is collaborative marketing.

JP Robinson gained experience in the marketing field doing promotional work for multi-million dollar medical facilities and non-profit groups over the past decade. He is an international speaker, educator, and prolific author of both fiction and non-fiction.

JP also conducts writing seminars in various parts of the country and heads Logos Publications, LLC, an emerging publishing and book marketing team.

When he isn’t writing or teaching, JP loves spending time with his wonderful wife and children.

[1] Klepic, J. (2017). The Age of Collaborative Marketing Has Arrived. [online] www.huffpost.com.  

Categories
Becoming an Author

Achieving the “It Factor” in Publishing – Part 2

I understand the struggle that aspiring authors often face on their attempt toward publication. Honestly, this is one of the reasons why I’ve chosen to work in the publishing field—not just because I love books, but because I want to help other writers’ dreams come true.

However, as the publishing industry becomes more and more saturated, aspiring authors are finding it harder to receive recognition. The recent changes in the industry have caused editors to become more selective in their acquisition decisions. Us literary agents, as a result, are dealt with the same dilemma. We only get paid when a sell is made; because of that, we have no choice but to sign with clients whose book(s) we think could sell. 

As I mentioned in my previous post, possessing an “it factor” can help aspiring authors to increase their chances of landing a traditional publishing deal in today’s age. And it all begins with the submissions to literary agents (or publishing houses).

First, in order to understand how you can catch an agent/editor’s eye, you must know what it is that we’re looking for from an author. 

Below is a list of questions that I personally ask myself when reviewing a proposal…

1.     Does this project fit my criteria of what I’m looking for?

2.     Is the hook of this book strong enough for me to pitch to editors?

3.     If the book is non-fiction, how does it fit into the current marketplace in a way that brings a fresh perspective? If the book is fiction, does the story tap into trends in a way that refrains from coming across as cliché or overdone?

4.     Does the author understand who the target audience is of the book?

5.     Does the author have potential to reach his/her target audience through platform?

6.     Does the marketing plan prove that the author understands marketing and will partake in publicity efforts?

7.     If the book is non-fiction, is this author the right person to write this book (based on his/her credentials)?

8.     Does the author have connections in the industry with people who can act as an influencer or give a possible endorsement of the book?

9.     Has the author been published in the past? If so, what are his/her sales history?

10.  Last—but certainly not least—is the writing strong enough to carry this project?

As you can see, there is a plethora of factors that can play into whether an agent/editor accepts or rejects your proposal. It is not solely based on writing potential. 

Why is this?

When an editor is interested in a submission at a publishing house, he/she will then meet with the rest of their team to discuss the project. Several departments will review the proposal from various angles. Believe me when I say that the answers to some—if not all—of the above questions will be considered at this meeting!

Fortunately, since you are an author who takes your writing seriously, you won’t see this challenge as a threat to your publication dreams; instead, you can use this as an opportunity to craft a stronger submission. A proposal that will allow you to stand out in the slush pile.

And achieve the “it factor” in the process.

What are other questions ways you attempt to stand out from the crowd in your submissions? How do you strive to achieve the publishing it factor in publishing? Let me know in the comments!

Tessa Emily Hall writes inspirational yet authentic YA fiction to show teens they’re not alone. Her passion for shedding light on clean entertainment and media for teens led her to a career as an Associate Agent at Hartline Literary Agency, YA Acquisitions Editor for Illuminate YA (LPC Imprint), and Founder/Editor of PursueMagazine.net. Tessa’s first teen devotional, COFFEE SHOP DEVOS, will release with Bethany House in 2018. She’s guilty of making way too many lattes and never finishing her to-read list. When her fingers aren’t flying 116 WPM across the keyboard, she can be found speaking to teens, decorating her insulin pump, and acting in Christian films. Her favorite way to procrastinate is by connecting with readers on her blog, mailing list, social media (@tessaemilyhall), and website: tessaemilyhall.com.

Categories
Becoming an Author

Achieving the “It Factor” in Publishing

            You may have heard the term “it factor” used to describe people in industries such as sports or entertainment. On reality singing competition shows, such as The Voice, judges will occasionally comment about a certain contestant having this “it factor.” In this case, the judge may describe the singer as having a certain stamina and charisma—as well as a standout voice—that is admired in the music industry. The singer may also have a good feel for who he/she is as an artist, as well as a natural stage presence.

            All of these components play into the term “it factor” in the music industry. I would assume this helps industry professionals weed out the highly competitive market and only sign with those who have it. 

            In the publishing industry, however, authors don’t exactly need charisma or a stage presence in order to stand out amongst their competition. (Or a singing voice—thank God!) However, there are still other components that separate the “pros” from the amateurs.

            You might be thinking,“But in order to be an author, I only need to write a good book. Right?”

            Maybe in the past. But if you haven’t noticed, the publishing industry has shifted significantly over the past couple of decades. The marketplace is swarmed with writers who are vying for attention from agents, or authors who are vying for attention from readers. Because of this, a writer’s craft is not the only factor taken into consideration when an agent/editor reviews a proposal. There are simply too many high-quality books out there, and unfortunately agents/editors can’t sign them all.  There are a plethora of factors that can play into whether an agent/editor accepts or rejects your proposal.

So how is an aspiring author supposed to stand out in the midst of the crowd?

Having the “it factor” helps. Here’s how I’d describe it:   

            Aspiring authors have the “it factor” when they work hard at honing their writing skills. They also keep up with the state of the industry, read widely, and understand where their book fits into the marketplace. They’re willing to keep up with the changes of the industry.

            These aspiring authors also know who their audience is and how they can reach them (through social media and/or speaking). They are familiar with how to market a book and will work hard to ensure it reaches the hands of the right readers.

            These writers can easily brand who they are as a writer as well. Even if they’re unpublished, these aspiring authors understand that branding helps them to come across as remember-able. They understand that branding is directly connected with the reputation they have on social media and within writing/book communities.

            The writers who have the “it factor” can also take constructive criticism on their work and apply it to their writing, and they don’t allow rejections to keep them from moving forward. Their perseverance, grit, tough backbone, and passion are what keeps them moving forward.  

            If you don’t believe you’ve attained the it factor yet—based on this definition—please don’t be discouraged! Simply take it one step at a time.

            (For instance, if you’re unfamiliar with how to market a book, then you might want to consider signing up for an online course on the topic.)

            Fortunately, the it factor in publishing is not something you’re born with. It takes time, effort, dedication, and a willingness to learn and grow for an aspiring author to reach this point. But once it’s achieved, trust me when I say that it will make a difference with how you’re perceived within the industry—and it will help you stand out amongst other writers as well.

            In this new column, I want to help you achieve that it factor. I’ll share posts that will help you sharpen your craft, understand the industry, build your brand, craft a marketing plan, and more. Plus, I’ll offer encouragement that will inspire you to keep going when discouragement settles in. 

            How would you define the it factor in publishing? Let me know what you think in the comments!

Tessa Emily Hall writes inspirational yet authentic YA fiction to show teens they’re not alone. Her passion for shedding light on clean entertainment and media for teens led her to a career as an Associate Agent at Hartline Literary Agency, YA Acquisitions Editor for Illuminate YA (LPC Imprint), and Founder/Editor of PursueMagazine.net. Tessa’s first teen devotional, COFFEE SHOP DEVOS, will release with Bethany House in 2018. She’s guilty of making way too many lattes and never finishing her to-read list. When her fingers aren’t flying 116 WPM across the keyboard, she can be found speaking to teens, decorating her insulin pump, and acting in Christian films. Her favorite way to procrastinate is by connecting with readers on her blog, mailing list, social media (@tessaemilyhall), and website: tessaemilyhall.com.

Categories
Kids Lit

Write Like a Dinosaur to Succeed in Children’s Publishing

Kids Lit

Write Like a Dinosaur

While doing research for my latest children’s devotional book, “Dinosaur Devotions: 75 Dino Discoveries, Bible Truths, Fun Facts, and More!” (Tommy Nelson), I realized that children’s writers can learn a lot from our dinosaur friends, so here are a few of my “Dino Do’s” for my fellow children’s writers.

Do be like a Compsognathus (comp-sog-NAYTH-us)—This little dinosaur, about the size of a chicken, didn’t try to reinvent the wheel. Though he chased after and munched on small prey, he sometimes watched and waited and let the more powerful predators kill unsuspecting dinos, and then the Compsognathus would sneak in and snack on the dead animals. It’s not that this dino was lazy; it was just smart.

What does this mean to you?

  • Find a mentor text. Don’t try to reinvent the wheel. Learn from those who have already written an amazing book on the topic (in the genre) that you are desiring to write.
  • Be inspired by those who’ve gone before you. Don’t copy but imitate greatness.

Do be like a Corythosaurus (ko-RITH-o-SORE-us)—The Corythosaurus had exceptional eyesight and hearing.

And you’ll have to as well if you’re going to keep children entertained, engaged, and reading.

  • Listen to how children talk.
  • Watch how they move and interact with the world around them.
  • Make sure you use all of your senses when sharing your stories.

Do be an Amargasaurus (ah-MARG-uh-SORE-us)—The Amargasaurs lived in a dry, hot environment, and scientists believe it might have used its sails to cool off when it became overheated.

When you see books in the marketplace that don’t reflect your values and that makes you angry, cool off like the Amargasaurus and…write something just as cute that showcases your beliefs.

Do be like a Edmontonia (ED-mon-TONE-ee-ah)—This dinosaur was a bulky, armored, tank-like dinosaur. It was covered in bony plates, and along its sides were large spikes. You might say he was heavily armored and protected.

The Edmontonia had very thick skin. You’ll have to guard your heart and feelings if you are in this publishing world very long.

  • Rejection letters pave the road to publication.
  • Remember why you’re writing. Remember that if God called you, He will equip you. And, remember that a bad review isn’t always a bad thing. In fact, controversy often brings publicity which almost always increases sales.

 

Do be like a Utahraptor (Yoo-tah-RAP-tor)—Not much was known about the Utahraptor because so few bones of the large raptor had ever been found. But, that all changed in 2014 when the bones of six Utahraptors were found together on a mountain in the State of Utah. Finding so many Utahraptor skeletons together made experts believe these dinosaurs stayed together and probably hunted in packs.

Like the Utahraptors needed each other to survive and thrive, so do we.

  • Join a critique group—but not just any critique group. If you mostly write picture books, then join a critique group with other picture book writers because someone who specializes in YA probably won’t provide as much helpful feedback.
  • Network with anyone and everyone you encounter because you never know who might be a source for your next story or a future publishing contact.
  • Connect with other children’s writers on social media and exchange ideas. Share each other’s blogs. Promote each other’s work. Celebrate each other’s awards. Engage with your online communities and grow that platform together.

Do be like a Shantungosaurus (shan-TUNG-oh-SORE-us)—While it seemed physically impossible due to this dino’s size, the Shantungosaurus was able to stand on its back legs and actually run.

How does this apply to you? You’ll have to do what might seem like “the impossible” to get published in the children’s market, but you can do it!

  • Just don’t give up.
  • Create habits that breed success.
  • Hang out with people who are better than you.
  • Attend writers conferences.
  • Take online classes and keep learning the craft.

​So, be like a dinosaur and grow your writing career as big as a Patagotitan.

 

Michelle Medlock Adams is an award-winning journalist and best-selling author of over 90 books with close to 4 million sold. Her many journalism and book awards include top honors from the Associated Press, AWSA’s Golden Scroll for Best Children’s Book, and the Selah Award for Best Children’s Book. Michelle currently serves as President of Platinum Literary Services, a premier full-service literary firm; Chairman of the Board of Advisors for Serious Writer, Inc.; and a much sought-after speaker at writers conferences and women’s retreats all over the United States.

When not writing or teaching writing, Michelle enjoys bass fishing and cheering on the Indiana University Basketball team, the Chicago Cubbies, and the LA Kings.

Michelle is celebrating the recent release of her books, Get Your Spirit On!, Fabulous & Focused, Dinosaur Devotions, and C Is for Christmas, and she’s anticipating the upcoming release of What Is America? (Worthy Kids) and They Call Me Mom (Kregel), a devotional book she co-authored with Bethany Jett.

Categories
Publishing Pulse

Beware the Hollywood Stereotypes of Publishing

There seem to be plenty of people out there who have never published anything, but are happy to give you advice on how the publishing industry works, based on something they saw in a movie. Far too many people have a stereotype in their mind of publishing a book, and worse yet, it’s a 20th-century stereotype. Here’s some of the questions I have been asked that are mostly the stuff of fiction:

Continue reading “Beware the Hollywood Stereotypes of Publishing”
Categories
Writer Encouragement

Cracks in the Porcelain

A recent purchase of a new tea cup taught me a lesson about fragile beauty when I discovered a crack in the porcelain.

I couldn’t wait to have my first cup of English Breakfast tea in that beautiful vessel. The smoothness of the china beckoned my fingers to swirl around the edges and I imagined the lovely hue of the tea leaves leaving behind an inviting and invigorating start to my day. It seemed perfect.

It also made me excited that I’d purchased the lone cup from a clearance shelf in a popular Bath and Bed shop. Always on the hunt for a bargain, I treasured this piece of porcelain that appeared to be a worthy find.

When I poured the boiling water over the teabag, however, I noticed the tea began to ooze out onto the kitchen counter. I realized all too soon, there was a thin crack in the cup. Once the tea was inside it, the break in its beauty became visible.

I thought how our hopes and dreams as writers can be like buying that porcelain cup with a crack rather than enjoying our morning brew in simpler mugs. That china cup I bought appeared to be so perfect, promising moments of satisfying brew that would surpass the enjoyment of drinking from my Fiesta ware. In fact, my usual cup—less ornate and refined—turned out to be the dependable vessel. The one I could count on to brew that tea and sustain my need for caffeine. And we all know wordsmiths thrive on caffeine!

Ever since I’ve been a writer, I’ve seen and heard the idea that the biggest publishing houses with big contracts are the best way to publish. Some believe it’s the only way to publish—the ultimate goal. And there’s nothing at all wrong with “reaching for the stars,” as it were. But what about the wonderful contracts with the smaller publishers? What about the alternative ways to publish in the 21st century that have opened up opportunities for authors to get their words in print? Are not these venues to publishing a golden opportunity for many?

I encourage each writer to pray that the Lord leads you to the perfect “cup,” whatever that vessel might be. Always seek His best goal for you. Don’t miss an opportunity to publish with a smaller house in your quest for “success.” Sometimes what we view as success might have hidden cracks.

 

Elaine Marie Cooper is the award-winning author of Fields of the Fatherless and Bethany’s Calendar. Her latest release (Saratoga Letters) was finalist in Historical Romance in both the Selah Awards and Next Generation Indie Book Awards. She penned the three-book Deer Run Saga and has been published in numerous magazines and anthologies. She freely admits to being a history geek. Look for her upcoming series set in Revolutionary War Connecticut. The 4-book series is entitled Dawn of America. You can visit her site at www.elainemariecooper.com

Categories
Publishing Pulse

Publishing as a Business

Today’s book publishing market can be a dangerous place, with a lot of scam artists spouting confusing terminology. I applaud the efforts of legitimate author groups who try to dispel the confusion, especially about different types of publishing business models. And yet, in an effort to simplify, it’s easy to become simplistic. Some of the explanations I’ve seen about traditional (commercial) publishing versus so-called self-publishing (subsidized publishing), even from industry leaders, are sometimes inaccurate and do not seem to take into account some basic business principles.

Like any business, book publishing involves a capital investment (the purchase of raw materials, labor, tools and/or equipment) to produce a product or service that is marketable (able to be sold for a profit). But unlike most businesses, the “raw material” of book publishing is content—an author’s words. And this is where the disconnect between author and publisher usually begins.

Most authors are uncomfortable with viewing their creative work as “raw material” — they prefer to think of their work as a finished product. Rather than being paid a standard industry rate for their raw material, they believe they have a marketable, finished product, and so they should receive the profits.

It’s an attitude that seems to make perfect sense—until you remember what profit really is. Profit is the revenue over and above the capital investment. In writing a book, has an author made a capital investment? Not at all! As an author, you may feel you have invested your heart and soul into your book, but if you haven’t invested any cash, it’s not a capital investment that will generate profits. Certainly you should be paid an appropriate amount (in royalties) for the value of your “raw material” — or, if you prefer, for your hours of labor in writing the book. But if you haven’t paid out the money needed to publish the book, you are not entitled to the profit on that investment, no more than you would be entitled to the interest income on someone else’s bank account!

And like it or not, it costs money to publish a book. The word publish has the same root as the word public, because when you publish a book it means taking those words sitting in your computer and putting them into a form that can be distributed to a waiting public—and it costs money to do that.

Rather than limiting themselves to the role of content provider (or “raw material” supplier, if you prefer), some authors choose to wear the hat of capital investor (supplier of the cash) and publisher (doing the work involved in preparing and distributing their words to the public). The common term for this is self-publishing. Next month, I will discuss the pros and cons of this process, and why there really is no such thing as self-publishing.

 

David E. Fessenden

Literary Agent, WordWise Media Services
Publisher and Proprietor, Honeycomb House Publishing LLC

Dave has degrees in journalism and theology, and over 30 years of experience in writing and editing. He has served in editorial management positions for Christian book publishers and was regional editor for the largest Protestant weekly newspaper in the country.

Dave has published seven books, written hundreds of newspaper and magazine articles, and edited numerous books. He is a frequent speaker at writers’ conferences. Two of his books, Writing the Christian Nonfiction Book: Concept to Contract and  A Christian Writer’s Guide to the Book Proposal, are based on his experience in Christian publishing. The Case of the Exploding Speakeasy, Dave’s first novel, reflects his love for history and for the Sherlock Holmes stories of Arthur Conan-Doyle.

Dave and his wife, Jacque, live in south-central Pennsylvania and have two adult sons.

Websites/Blogs:
www.fromconcepttocontract.com
www.davefessenden.com
www.thebookstore.info

Categories
Book Proposals

Come to the Table-of Contents

Congratulations, the agent, and publisher liked what they read in your Cover Letter, and opened the door to the rest of your proposal. Now, you want to make their experience easy and rewarding.

The top three pages most busy agents and publishers look at are the Biographical Sketch, Marketing Plan, and Story Synopsis.  Your Table of Contents is the map to get them there fast. A happy agent is a signing agent and publishers like an author who is thorough.

(Always follow the submission guidelines for agents and publishers. You can find them at their website.)

Below is an example of a fiction proposal:

Table of Contents

 

One Page Sell Sheet…………………………………………………………………………………3
Biographical Sketch………………………………………………………………………………….4
Synopsis…………………………………………………………………………………………………..5
Marketing Analysis…………………………………………………………………………………..9
Competetive Analysis……………………………………………………………………………….10
Marketing Plan…………………………………………………………………………………………12
History of the Manuscript…………………………………………………………………………14
Sample Chapters………………………………………………………………………………………15

 

In a non-fiction proposal, the “Synopsis” pages will be replaced with, “Chapter Outline.”

Double check your page numbers against the proposal each time you edit.

Next month we look at the One Page Sell sheet and discover why it’s different than a One Sheet.

Meanwhile, if you have any questions about book proposals, email me at editor@thewriteproposal.com.

Cherrilynn Bisbano is an award-winning writer. Her goal is to assist authors on their writing journey.

She is the founder of The Write Proposal book proposal services.

She is managing editor of Stand Firm-Reasons column and co-hosts Fulfilled Prophecy Friday with prophecy speaker Jake McCandless.

She’s the host of Genre Chat where she’s privileged to interview expert writers.

Cherrilynn was Managing Editor at Almost an Author –Top 100 writing websites for 2018.

She loves to teach leadership, book proposals and the bible. Find her biblesSpeakers page at Women Speakers

Leadership Certified and studying Chaplaincy and Business at Christian Leaders Institute

She is a two-time winner of Flash Fiction Weekly. She’s published in many online magazines and contributes to Blue Ridge Mountain Christian Writers blog.   She’s also published in Chicken Soup for the Soul- Miracles, Breaking the Chains and Heart Reno books.

Cherrilynn proudly served in the military for twenty years, earning the John Levitow Military leadership award.  She lives with her sixteen-year-old son, Michael, Jr., and husband of 19 years, Michael, Sr.  She loves Christ, chocolate, coffee, and cats

www.TheWriteProposal.com