PUBLISHING QUESTIONS

Q:  Like most writers today, I love the smell and feel of a physical manuscript, and can’t possibly imagine myself snuggled in bed reading a good book on an eReader. However, I am also a realist and think that someday — sooner than I’d ever like to admit – electronic books will be the norm. So here’s my question.  How do I get a book ready? What is the required format and who do I contact to “get on the bandwagon”? Also, is the electronic format required by all eReaders the same? 

A:  First of all my primary business, besides the free information service at this site, is converting manuscripts into eBooks. I can help you convert and answer all your questions. The formatting styles differ depending on the eReader and currently there are nine various formats. Print books are not going away but the digital book is certainly here to stay and a format that every published author must consider.

Q:  What should I be looking for when selecting a print-on-demand publisher for my book?

A:  My suggestion is to seriously evaluate the pros and cons of each by comparing prices, services, network with your fellow writer colleagues and ask others who have gone down this road for advice. Ask about customer service and follow-up of each publisher. Don’t fall for the sales pitch but rather focus on what this publisher can do for you. My suggestion is that you read my GUIDE TO PUBLISHING which is free and can be found at the INDI Publishing Group link at the top right of each page.  

All print-on-demand publishers will create a negative perception of your writing simply because these companies offer no editorial control over what they publish. Plus you need to be concerned about total fees you pay for many services you do not need. These companies make money when you sign-up not when you sell books and that is the wrong way to look at the business.

Q:  Since you have worked in New York for so many years, what’s the secret to making a book a bestseller?

A:  There are no secrets! And there are no guarantees! Anyone of the experts making such promises is flat wrong. The formula for success in publishing is (1) understand the marketplace, (2) create the right combination of advertising, promotion, publicity, and most important of all (3) consult with a professional. Never try and go it completely alone unless you have an unlimited amount of time, money and lots of patience.

Q:  I have a book idea I’d like to market, how do I go about it?

A:  Unless you are a professional with tons of credentials, a nationally recognized speaker or have some other impressive resume and platform, selling your idea to a publisher is tough. It is highly unlikely you will be able to effectively market a “book idea” without providing a huge stage from which you have a proven audience interested in your proposal.  However, I’ve learned to never say never, but your chances are slim.

Publishers have little interest in “book ideas.” Agents know this and are reluctant to consider such projects. Even if you were successful in getting the attention you want, you would have to provide a completed manuscript in short order. The best advice for a “book idea” is to hire a ghost writer who can take your idea to the next step, and then market the completed manuscript to an agent or publisher.  

Q:  What is a book query?

A:  A letter written to an agent in hopes of obtaining representation from said agent for the purpose of selling your manuscript to an editor and publisher for publication.

Q:  I’m having a hard time trying to figure out the category for my manuscript, how do I make this decision?

A:  Don’t be overly concerned with the category of your writing. Agents and editors are busy and tend to review queries and proposals quickly. The wrong or inappropriate category listing on your manuscript could pigeon hole you into something you are not. Let the writing speak for itself and the agent or editor decide what category it should be, they will anyway. Compare your writing to another author or book, but be careful, if you list nothing but New York Times bestselling authors and titles, then you won’t be taken seriously. Do some research of current titles in stores and find those that favorably compare to your own that is the best approach.   

Q:  I’ve been trying for months to attract the attention of an agent without success, any suggestions?

A:  The best way to get the attention of an agent is with a well crafted query letter.

However, if you’ve never had your manuscript professionally edited, I would suggest you start with a critique. If you are successful at submitting a query letter that attracts the right attention and yet your writing needs work, you will get rejected. Before you start any query letter campaign, you must at a minimum engage a professional editor to read your manuscript and write a critique. Follow your editor’s advice, make revisions and then launch a query letter writing campaign. If all else fails then continue your writing and create new content that can be shopped to agents.  

Q:  What kind of investment should a person make in getting their manuscript published?

A:  The answer depends. Understand that your book is your resume and if you have decided to self-publish there are many options. To get a professionally produced, top quality looking book, you should not have to invest thousands of dollars, not including editorial or printing. However, you can publish a quality book for less than you imagine. Visit the INDI Publishing Group by clicking the link at the top right of each page and ask for the free GUIDE TO PUBLISHING. That will answer your questions including cost of each option.  

Q:  My publisher wants to price my book well above the market for my category, how can I make them understand this is wrong?

A:  Unfortunately you can’t, some publishers who charge a fee to print your book set cover prices based on page count. You can understand why, because they are making money off the services you purchase and not necessarily the number of copies you sell. Certainly they want you to sell copies because they do make money when you are successful. However, the business model for “most” self-publishers, where you pay a fee to publish, is to sell services. Consider that roughly 90% of all authors who pay to have their book published actually sell less than 50 copies during the lifetime of the book. Now you can understand why some print-on-demand publishers focus on the upfront fees you pay and not the number of copies you sell.  

Q:  I love the cover on my book, but seldom do readers “get it.” Should I be concerned? Did I make a mistake?

A:  If readers aren’t “getting it” then your cover does not identify your book. If there is one thing that New York publishers do extremely well, it’s package books. They know what catches the eye of the consumer and moves copies. If you place your book on a table among a dozen other books and it stands out then you probably have done a poor job of packaging. Your book needs to blend in with the other books and the title and subtitle should quickly and easily tell the reader what it’s all about. If you try and be too clever then you will miss the opportunity, however brief, at catching the attention of someone who just might enjoy reading your book. The cover, title and subtitle, as well as price do matter in publishing. Consumers do in fact judge a book by its cover.         

Q:  I’m writing a book and want to include names of restaurants and hotels, do I need their permission?

A:  Let me preface by saying, I’m not an attorney, and to be absolutely certain of the information I am offering you should consider consulting an attorney. However, the rule of thumb has always been, if you are writing about public places then you do not need permission to include the names in your book. It would be wise to avoid any disparaging remarks or untrue statements about these public places, to avoid potential problems.     

Q: My book was published several years ago by one of what you call the “publishing mills.” They did nothing for me and I’ve sold very few copies. What can I do now to breathe some life into my old book?

A: This is a great question and one that often comes across my desk. However there is no easy answer. You need to have your book “repositioned.” This means a complete market evaluation from content, cover and copy to everything else. I realize you probably have a certain amount of money invested in your book but you will have to reinvest in what is called a “republication.”

Your title being older than six months post pub date is considered a backlist title and to breathe new life you must consider publishing again, with a different company and marketing strategy. Your book is an investment and how much you plan to budget depends on how much you believe in the strength of your book. There is always hope, never give up, anything is possible, even for a book in print for many years. Old is often new again in publishing, you might be surprised at what could happen, but first step back and ask someone to take a fresh look. The other alternative is to publish an eBook which gives you a “relaunch” in a new format and could breathe new life into your writing.   

Q:  What is meant by the term “commercial fiction?”

A:  Typically the term refers to “mass market,” in other words a manuscript that is considered commercial refers to the fact that the potential market is across the board. Across the board refers to all types of booksellers, not just bookstores.     

Q: A bizarre thing just occurred and I am not sure what to do. I went onto Amazon to check out my book and was shocked to see another book, to be released in June with the same title. Can I do anything about this? Does the ISBN of a book not automatically take care of this?

A: Unfortunately book titles are not copyrighted, so there may in fact be many books with the same title as your own. Just as there are other Jerry Simmons’ around, my social security and drivers license identifies me from those with the same name. That is what an ISBN does for your book, identifies it to the market. Booksellers order titles by ISBN, author last name and finally title. They can’t trust titles alone. Sorry to break that news to you but don’t fret…..there are hardly any books anymore that have a title to themselves.

Q: I’m really dissatisfied with the results of my book publication from the largest self-publishing company, what can I do?

A: If you are unhappy with the production or final product, you can ask your publisher for a reprint, but I’m doubtful they will accommodate you. Unfortunately these companies call themselves publishers when in fact they are printers. They lack publishing experience and make money when you sign your contract. They are not concerned with how many books you sell. It’s their business model to make money when you sign-up and not when you sell books. They are very successful at delivering a book cheaply and quickly. There are options, but in your situation you either get them to reprint, decide to live with the result, or find yourself another publisher. There are self-publishing options. If you want more information visit the INDI Publishing Group by clicking the link at the top right of each page and sign up for the free GUIDE TO PUBLISHING. There you will find a complete list of options.   

Q:  I see a description of an outfit that distributes to an international market, actually works in that market, and charges the same discount as those who distribute in the U.S. Given that the cost of doing business internationally is higher, what’s the beef?  The cost to the publisher (author) is the same and there are more English readers outside the country than here (even China has more people who read English than we do). I get the feeling I missed something here?

A:  Here is my thought on the foreign distribution. Having worked in NY for many years, the foreign market is fraught with thieves. The low cost foreign distribution programs are ripe with people who will steal your book, resell and reprint in foreign countries and never give you a dime. They will change the title but steal the content and you will never know. This happens on a regular basis. The only legitimate and safe way to tap into the foreign market as an author is through the foreign rights departments of the big literary agencies or with one of the big publishing houses. 

Q:  If understanding your book publishing audience is critical, how does a writer go about doing that?

A:  You begin by positioning your title. Become a regular visitor to a bookstore, make observations about and read the competition in your writing genre. The key is figuring out how your writing is similar and yet different from other authors with books on bookstore shelves. You need to make a comparison of your writing and where exactly you fit into the category of your writing. Once you become a regular visitor you will begin to see changes in the category and for you the important point is to figure out how your writing is positioned. This is the first step in understanding your audience.

Q:  I’m curious how other publishers view category romance authors—does a good sales record in category fiction mean anything to a mainstream publisher or agent? Could it actually be a negative thing (work against you in some weird way)?

A:  Consistent sales with high sell-through (percentage of the number of shipped copies to the actual number that sold) is a gold mine to publishers. Regardless of whether the author is a category writer, consistent levels of sales over the course of many years with high sell-through are what publishers are seeking. Good sales history is the key; category is a distant second in viewing the success of an author. So category fiction or any category sales that remain consistent book after book is how publishers make real money.

Q:  Do you think the industry has restructured in such a way that they’ve basically made it impossible, from the inside, to become another Nora Roberts?

A:  NO! Definitely not. Rest assured, the industry is trying all they can to find more authors like Nora Roberts. One problem is that writers seem reluctant to do what it takes to become a Nora Roberts, and I’m not referring to the writing, but to the marketing, promotion and publicity aspects of what it takes to be successful. You cannot buy your way into success of onto bestseller lists, it takes talent and hard word. If you are serious about your craft then do your homework and study the market, the more information you have about publishing the better chance you have of becoming successful and perhaps a new Nora Roberts.

Q:  What would it take for independent booksellers to be given a level competitive playing field with the larger nationwide chain booksellers?

A:  It’s not possible, simply because the business centers around the volume of books sold which generates revenue and billing and the independent booksellers are typically only one or two stores compared to several hundred of the national chain bookstores. The volume the independents can generate compared to their larger competitors is apples to oranges. It’s unfortunate but that’s the nature of the business.

MARKETING QUESTIONS

Q –  I am inundated daily by promotional sites, newsletters etc…. What do they all have in Common? All of them offer “list your book on these author sites” and the list goes on. Now, my question is this … What exactly is the benefit of doing this? Aren’t we all just patting each other on the backs?? Aren’t we all just singing to the Choir?

A – The Independent writing and publishing community is a highly fractured marketplace and there are thousands of web sites offering all kinds of products and services. My biggest disappointment with this segment of publishing is that too many companies are making money off the backs of unsuspecting writers and authors who fall for their sales pitch. Most of these programs are scams in my opinion because they don’t work.

They don’t work because the marketplace has a very strict code by which it operates and without experience in the mainstream world of book publishing writers can easily fall into the trap of believing the promise. The best way for Independent authors to make sales and generate buzz about their books is to follow the rules of the marketplace, many of which are found here at this web site.

Here is my recommendation, if you find an author web site where you can create a profile and post your book cover and additional information for free, then go for it! When they pester you with promises if you do such and such, simply refuse. You have nothing to lose with free and potentially everything to gain.  

Q:  This business is loaded with experts, so many people are telling me how to do something, how does anyone know which to choose?

A:  For anyone searching for products or services, answers to questions, or advice on how to publish or market your manuscript or book, always check the background and experience of the people or company involved. For someone to say they have 20 years of experience without providing details is like going to a doctor that has a dozen mail order diplomas on the wall. You wouldn’t trust your health to someone of questionable credentials so why spend money and waste time trying to figure out who has the best deal for you and your book.

Publishing the right way translates into the ability to sell copies. There are tons of experts telling you “how” but what you really need to know is the “why” which should clarify the how-to. Don’t be fooled by guarantees and promises and all the other stuff that goes along with it. The proof is in the details and you need publishing knowledge and experience to avoid spending thousands of dollars and wasting months of time. Do your homework and never cut corners.   

Q:  I can’t afford to hire a publicist, especially those that charge a monthly retainer or fee. Are their options?

A:  The best way to effectively market and sell books in today’s marketplace is publicity. The single most important aspect of book marketing is generating publicity. I’d suggest you consult with a professional book marketer that can create an overall plan for your book. This way there are no monthly retainers and you can follow the plan on your own.  This is the most cost effective method of marketing your book.

Q:  Is there an inexpensive way of generating publicity? Isn’t there anyway of generating publicity without spending a lot of money?

A:  Certainly you can do your publicity homework and attempt to attract free publicity on your own but without the media contacts that is difficult, not impossible, but harder and much more time consuming than if you worked with a publicist, even for a short period of time. As with any business, what attracts publicity is the professional that has spent years in the business and understands how to market an author to maximize their publicity potential. You can do it alone but you must exercise a tremendous amount of time and patience.

Footnote: There is a free eBook titled WHAT WRITERS NEED TO KNOW ABOUT MARKETING available simply by signing up for my free eNewsletter at the home page. If you prefer not to sign-up for the newsletter and want a free copy, send me an email through the contact link at this web site.

EDITORIAL QUESTIONS

Q:  My book has been edited seven times, I’m confident it’s a good book, why in the world would I need an editorial critique?

A:  To get an honest objective evaluation of the marketability of your writing. I’m certain your editor did a great job, all seven times, but that still doesn’t mean you have a marketable product.

Whether we agree or not, there is a “stigma” attached to any self-published book that screams “poor quality.” Your manuscript may in fact be well edited, but in turn that does not make it ready for sale and distribution into major booksellers. The critique is designed to identify the quality of the writing as well as the marketability of the book. It’s highly recommended.

Q:  I’ve read a lot of your writing on your web site and blog and I can’t help but wonder, what is an author supposed to do when they cannot afford an editor?

A:  I don’t mean to sound callous to the financial considerations writers must make especially in these tough economic times however, as a writer you cannot afford to publish your manuscript without the help of a professional editor. If you hope to sell copies or attract the attention of an agent or major publisher, your book needs to be as good editorially as possible. Many editors offer a variety of services at varying prices. Thousands spent on marketing and none of editorial is a waste. A professional editor is the first person a writer should hire before they attempt to publish. Consider an editorial critique which will help you identify errors in your writing and is much less expensive than a full blown editing job and following which you can self-edit based on the critique.    

Q:  There’s a raging controversy over point of view in my writing group. We’re taught to pick one and stick with it. But writers (big famous ones) are changing points of view all the time! What do agents and editors think about this?

A:  Your controversy on point of view (POV) is one I’ve heard often from many writers and in my online writing classes on POV. You are right in that it’s best to pick a POV — whether first person, third person singular or third person plural — and stick to it. However, you are also right that many bestselling authors seem to flaunt these rules all the time and get away with it. Michael Connelly and James Patterson are two that come immediately to mind. So, what gives?  I just read Patterson’s Run For Your Life, and it is all over the place with POV.

If you were to go back to these and other authors’ earlier works, when they were at the beginning of their writing careers, you’ll see that they don’t violate POV rules. In many instances, their earlier books are establishing characters that often end up as series characters, such as Connelly’s Harry Bosch. But after so many books, the authors need to keep things interesting, so they end up switching to the criminal’s POV, or in Patterson’s case, nearly everyone else’s POV, while keeping their main character in the first person POV, which is how they originally established that character.

Another thing is that these writers are so practiced and so good at what they do that they can make it work. In a less experienced hand, it would appear that the writer was just making it up as he went along. When Connelly does it, the reader trusts that he knows what he’s doing and is willing to go along for the ride.

There are ways of going from first person to third person POV or to have multiple first person POVs without violating the rules. For instance, your main character could come across a diary written by another character. You could then put the chapters from that character into first person (or even third person).

You could also have one character begin to tell his story to your POV character and then switch POVs to the story-telling character.

Those are just two ideas. Remember, the name of the game is to get your work published. You don’t want to do anything that will make agents or publishers fear that you don’t have firm control over your writing. As long as you clearly establish that you know the rules — and you know how to break them — then you will be okay.

Diane O’Connell Literary Services
Specializing in Working with First-Time Authors
Diane has online classes specifically for Point of View, check out her website.

(718) 268-9282
doconnell@nyc.rr.com
http://www.docls.com

Barbara McNichol is a renowned editor kind enough to allow me to use a piece she wrote. 

If you’re in the process of writing your book and preparing to get an editor involved, knowing what questions to ask is important. Barbara prepared these as guidelines for your selection process.

Q:  What type of editing do most nonfiction authors want and need?

A:  To answer this question, let’s assume that the manuscript has been conceptualized and the first draft has been put on paper. That’s when you’d hire a Content/Copy Editor (usually the same person). If your book idea is at the “germination” stage, you’re better to first connect with a Developmental Editor.

Q:  What’s involved in this mix of Content and Copy Editing?

A:  Content Editing requires a macro view of the written manuscript to answer these questions:

§     Does the structure, theme, style support the stated objectives of the book?

§     How could these be changed to align with the book’s objectives?

§     What are strengths and weaknesses of the writing? What is missing?

§     What additions would make it better, stronger, more creative?

A Content Editor may do a Manuscript Review and turn it back to make suggested changes because it’s NOT ready for copyediting. I’ve made the mistake of diving into the nitty-gritty editing of a book before I realized it had “big picture” problems. That’s why I offer my “Hit Your Mark” Manuscript Review. If the writing doesn’t meet the author’s objectives for the book, it’s best to know it up front – and save time and money.

A Copy Editor digs into the nitty gritty of making the sentences clear and easy to understand. It’s like pulling weeds in a garden. The editor searches for every last typo and grammar gremlin until the reader gets a landscape uncluttered by weeds and other distractions. 

Q:  How does an editor determine an author’s objectives?

A:  Many conduct in-depth interviews. In addition to that, my approach is to have authors complete a Getting the Results You Want Questionnaire featuring questions that get to the heart of their plans, goals, and expectations. Feel free to request it via email with “Questionnaire” in the subject line.

Q:  How do you select a good editor for your nonfiction book?

A:  Better stated, how do you find the editor that’s the right fit for your book? Consider this three-step process:

1) Ask for referrals from those you know and trust in circles where authors hang out. “Referrals” also come through links in websites and blogs, and by researching those acknowledged or credited in model books already published.

2) Do an internet search for Nonfiction Editor and peruse websites, particularly an editor’s portfolio. Some authors selected editors who have experience in their books’ genre. You can contact authors listed and ask about their experiences working with a particular editor.  

3) Request a sample edit from each of the editors you’re considering. Have them work through several pages of your manuscript and study the “before and after.” Do you like what’s been edited? Has your voice been preserved? Did the comments enhance your writing? Does the writing “sing” better?

Q:  What pricing should you expect from an editor?

A:  In surveys on this subject, the range varies significantly and so does the process for working. Be sure that the one you select will dig deep enough into the soul of the manuscript for your liking. If the timeline is short, it may be too good to be true. Some work strictly by the hour, others by the project. I believe the key is getting a sample edit plus an editing plan with timelines and fees. You want to compare edits, turnaround time, and pricing side by side.

Q:  What result should you expect from an editor?

A:  You want to be able to say, “This editing makes me sound better than I ever thought I could! My ideas come across clearly and the style fits my personality.” That result sets you in motion for proudly promoting your book and making your authorship dreams come true.

For an article about different types of editors beyond copy and content editors, go to http://barbaramcnichol.com/downloads/book_doctor.pdf

Barbara McNichol Editorial

Sign up for Word Tripper of the Week www.BarbaraMcNichol.com

www.BarbaraMcNichol.com   www.nonfictioneditor.wordpress.com

877-696-4899 toll free – 520-615-7910 – 520-576-4382 cell – 267-295-8405 fax

Q:  Could you make some recommendations on good books about self editing?

A: Nancy McCurry is a creative writing instructor and editor, here are her recommendations of two great books that can help you with self editing. 

Self-Editing For Fiction Writers: How to edit yourself into print.  By Renni Browne and Dave King. This is a terrific book that I often recommend.  It isn’t just for fiction writers; it’s for everyone.  Browne and King are longtime editors and have a ton of great information to pass along.  The book is approachable and conversational.  It even has cartoons.  This is a terrific book and everyone can learn something from it.  Highly recommended, and a great Christmas present.

The First Five Pages: A writer’s guide to staying out of the rejection pile.  By Noah Lukeman. Lukeman, too, is a highly regarded New York editor.  This is a fascinating read focused mainly on fiction.  The book is organized beautifully.  While the intended audience is writers trying to gain a foothold with traditional agents, editors, and publishers, this book is for every writer.  It’s the first five pages that will make or break you.  Learning what Lukeman has to offer will help you connect with your reader, and that’s the top priority of any valuable book.

Nancy McCurry www.NancyMcCurry.com

Q:  Coming from a newspaper and magazine background, I’ve always written in AP style.  Is it frowned upon if a book is published in AP style?  If so, what style should I use instead, and where do I find guidelines?

A:  Not knowing what kind of book you’re writing, my answer would be to use both.

Loosely, I might lean to AP in a more sterile, informative nonfiction environment like a biography or an historical piece, but if working in fiction I’d go with Chicago Style.

One of my copyeditors added this: I’d use the Chicago Manual of Style or Strunk & White (The Elements of Style). Personally, I use dictionary.com a lot, and Grammar Girl is great, too. I got online and keyed in AP versus Chicago style and here’s a bit of what I found.

A few points to keep in mind:

Most newspapers follow The Associated Press down their yellow brick road, so if you’re appealing to the mass market in a non-fiction, you may want to pick up their book first.

Besides the fiction market, do you see your books or articles appealing to academia? They’re close-up-and-personal with the Chicago Manual, of course. This one might be your good first – perhaps only, writing bible. Though it may take an advanced degree or two to maneuver through its pages.

Working on a PC for your word processing, are ya? Well … Microsoft programmers must have read the newspaper a lot, ‘cause they favor the AP style and if you don’t re-set your options, it’s liable to play editor in that format, whether you like it or not.

And one last wobbly word of caution — whatever your style, don’t wander all over the road! Consistency is a prosperous path of travel ensuring a classy vehicle for your work. Whether it’s working with elusive ellipses, capitalizing pompous titles, or trying to remember where the quotation marks make sense, do it all the same way … maybe no one will notice your mistake.

Nancy McCurry www.NancyMcCurry.com