Writing Tips and Submission Tips

How can writers polish their fiction and better their odds of getting noticed by a publishing house? This morning I joined a packed house (c. 100) at the Georgia Writers Association monthly meeting to hear a superb presentation by Chris Reardon, award-winning mystery writer (Agatha award), who has also written on writing and getting published. Find her at http://www.bellarosabooks.com/)


Here were some of my takeaways:

• 90% of submissions to publishers aren't accepted. So in large part, it's a numbers game - you must submit over and over again. John Grisham couldn't get a publisher interested in his first book, so he self-published.


• You never have to accept any editor's opinions 100%. (One participant raised his hand to say that the first publisher he sent his manuscript to said that he should put it in first person. He acted on the advice and sent it to another publisher, who recommended putting it back into second person!)


• Rejections don't mean you suck. Editors reject manuscripts for many reasons, including how they're feeling that day and the manuscript they read preceding yours. (Her own quirk is that she hates the overuse of elipses - "...." If she sees a few of these...you know...in the beginning of a manuscript, she automatically tosses it. It's to be used when the speaker trails off. If the speaker is interrupted, use a dash instead.)
  
• Concerning the psychological trauma of rejection, Roerden encouraged us to read the following discussion (make sure to read all the replies. http://www.poesdeadlydaughters.blogspot.com/ See the January 31 entry).


• If you can't handle rejection, just write for your own pleasure. Once you submit it, it's a business.


• A large percentage of rejections are due to easily eliminated errors, e.g., they were sent to the wrong agent (a children's book agent rather than adult, etc.), were in an unusual font, were on colored paper.


• A huge portion are eliminated on page one - even the first paragraph. So many manuscripts look like they've been put out on the page and left there, rather than analyzed.


• The first reader: her job is to get through the pile quickly. A unique voice is what they're looking for.

At this point, she handed out two versions of an action scene. Everyone gave comments. What interested me was that she didn't dogmatically declare one right and the other wrong, although those in the audience had definite, differing opinions on which they liked best. One was shorter and moved faster, but more impersonal. It was like a screenplay, or investigative reporting. The other gave more insight into the attacked person's feelings, making you care more for the character, but it moved more slowly.

• Let your writing create emotion rather than evoke emotion. Rather than tell your reader that your character is in danger or pitiful or full of himself, lead the reader to automatically feel those emotions. Lee Child successfully employs understatement to leave the door open for the reader to respond with his/her own emotions.
  
• Go through your manuscript and get rid of all the adverbs, putting only those back in that absolutely must remain. Examples: "finally," "suddenly."

On Dialogue

When the first reader at a publishing company gives your manuscript initial approval, they will probably next skip over a couple of chapters and check out your dialogue. She had us read two examples of dialogue and give our insights. Symetrical dialogue (one asks a question and another answers) is used exclusively by most fiction writers, but it's dull when it goes on too long. It often works best with humour.

In real conversations, we often fail to answer questions. In writing, this leaves the reader with some tension (some key concerns remain unanswered) and moves them forward. This is called asymetrical dialogue or oblique (the response goes off in a different angle.) It can be annoying, but creates tension. Tension is one aspect of conflict, which of course is paramount to keeping the reader interested.

When your dialogue is so refined that it tells only what your particular character could be saying, it doesn't need tags (e.g., "said Marty"). The strongest scenes are those with two people. It can be done with three, but is more challenging.

On Improving Your Writing

The very best teacher for you is the reading of great writing. Read a work twice - first just to enjoy the story. Then read it again (right away) to study the style. Make notations. That is your best learning tool of all. When you come upon a problem in your writing, analyze how your favorite author did it.

Questions:

1) how do you find an editor?

Anyone can hang up a shingle and claim to be an editor. She once paid $1 a page but got no useful input. Get references. Ask about her work habits; did the editor deliver as promised; did she deliver on time; was she heavyhanded or did she offer choices. It's difficult to find a good editor because those who write a lot don't want to share their editors and risk them get overburdened.

Join several writers groups. She's a member of about eight writers organizations: three national, three local and two others.

Some critique groups could ruin your writing. Get the one you need.

2. When do you stop rewriting?

However long it takes to get it right. Revise as you get information back.
If an agent requests to see the whole thing, don't get your hopes up. Some want to make a decision on one reading rather than having to re-read your early chapters after she gets the entire manuscript. Your odds are the same, just as bad, the second time as the first.

All in all, she was 5 foot, 2" of wisdom and energy. If you missed your latest writers meeting, don't miss the next one!

Oh, and her 2008 book is Don't Sabotage Your Submission: Save Your Manuscript From Turning Up D.O.A., by Chris Roerden.

On Writing and Publishing Excellence

Last weekend I visited my son in California, taking him to ski and snowboard Mammoth Mountain. Until that trip, I'd only skied the Southeast and considered myself a decent skier. But Mammoth taught me a lesson in excellence.

After a seemingly endless ascent on a lift that turned my knuckles white from my terrified grip, I was quite proud to find myself looking down the huge slope beneath me, basking in the headiness of "now I've made it to the big time." But after admiring the view for a few moments, a movement in the distance behind me caught my peripheral vision - another lift that I could barely see, taking skiers to a dizzying height that dwarfed my slope in comparison. From the lofty height, expert skiers would shoot down a slope that appeared to be only a degree or two off from a sheer cliff.

(I took the pic from the top of my lift. The top of the higher lift ends in the top left corner of the photo.)

My slope suddenly looked rather small -- a feeling akin to the kid who thinks the McDonald's playground is cool until he sees an advertisement for Disney World.

Now don't get me wrong. The humbling experience didn't dampen my spirits. I'll always treasure the time with Benji, the breathtaking views, and the exhilarating runs down the slopes. But it was both humbling and challenging to gaze upward and realize that there was more, should I aspire to excellence in the sport.

I immediately thought of my writing and publishing. It's cool to be published with a traditional publisher and to have my ideas translated into multiple languages. But it's also cool to glance up at the lofty heights attained by the greatest authors of my genre. They keep me from getting comfortable. They challenge me to keep getting input, gleaning from their wisdom and tweaking my style.

They also challenge my marketing. By glancing up regularly at the lofty heights attained by great book marketers such as Jack Canfield and Mark Victor Hansen, I'm challenged to keep reading up on marketing, trying new methods and pursuing those that work with gusto.

So enjoy your writing and publishing at whatever level you've reached, but don't get comfortable by neglecting to regularly reflect upon the greatest in your field. There's always so much more to learn!

Useful Stats for Authors and Publishers

Someone recently passed on to me some helpful publishing stats. They help me to compare expenditures, time put forth and sales to others in the industry. They also help me to plan more realistically and realize why I often have to do things that other writers aren't doing to get noticed in this industry.

Since Mark Twain famously singled out three degrees of lies:

#1: Lies
#2: Damn Lies
#3: Statistics

we'll take all these figures with a grain of salt and think through their practical implications. You'll notice that some of the stats contradict.

Number of Publishing Companies

8,000 to 11,000 new publishing companies are established each year http://www.ISBN.org .

Here's a summary of the growth in the number of publishers (from Publishers Weekly):

1947: 357 publishers
1973: 3,000 publishers
1980: 12,000
1994: 52,847
2004: 85,000

Number of Books

2006: 291,920 new titles and editions
2004: 2.8 million books in print (Bowker)
2004: 17 new books published each hour in the USA. (Book Industry Study Group)
70% of the books come from small/self publishers.
1999: The top 20 publishers accounted for 93% of the sales.

Small, Independent Publishers and Self-Publishers (http://www.BrennerBooks.co)

• Each averaged publishing 7 titles.
• 60% operate from home offices.
• They earned an average of $420,000 (1997) Compare this to Tom Woll's survey in 2002, which found 70% of the publishers reporting sales of less than $100,000.
  
• Half of the ones earning over $1 million worked from home offices (1997).
• The typical Indie publisher works 50 hour work weeks.
• They publish four times more nonfiction than fiction.
• Quickbooks is their favorite accounting software.

Average Amounts Spent on Tasks (http://www.BrennerBooks.co)

Interior Layout: $5 to $18 per page
Book Design: $10 to $150 per hour, totaling $465 for a simple cover to $3,533.26 for a complex cover.
Illustrations: $276 average.
Average revenue per employee: $97,713.

Hours to Complete Tasks

To write a fiction book: 475 hours
To write a nonfiction book: 725 hours
To produce a book: 422 hours fiction, 55p hours nonfiction
To design a cover: 10 to 15 hours
To edit: a book: 61 hours

Print Runs of small publishers

Average print run: 2000 to 5000 copies. (Tom Woll, Cross River Publishing)

Printing

Lightning Source has more than 2,000 publishers as clients.
30% of the new titles in 2005 were printed in quantities of less than 100 units.

Most initial print runs in at traditional publishers are 5,000 copies.

China is the leading manufacturer of four-color books.

Print on Demand

3.4% of their books sell more than 500 copies.

14.3% sold more than 200 copies.

"Xlibris averages 33 sales per title." Compare with "The average Xlibris book sells about 130 copies." Compare with :"Xlibris did just mail me an advertisement stating that they've published over 10,000 books and sold over 1 million copies. If you do the math, that comes to about 100 copies per book, and most authors probably buy a few dozen for friends and family."(The latter stat found at http://www.fonerbooks.com/best.htm)

I-Universe averages selling 75 copies per title.

Authorhouse claims to sell 108 books per title.

When are you Successful?

According to Authors Guild, a successful nonfiction book sells 7,500 copies. A successful fiction book sells 5,000 copies.

The average book in America sells about 500 copies. (SM - I wonder if this is speaking of traditionally published books only.)

"A book by the average author - that is, the average author who manages to find an agent and land a deal - sells just 11,800 copies, according to the Book Industry Study Group, a nonprofit research organization, and RR Bowker, a provider of bibliographic information." (Fast Company Magazine, Getting on the Same Page, November, 2005)

International Sales

In 2005-2006, books shipped to (in order) Canada, UK, Australia, Japan, Mexico, Singapore, Germany.

Men buy more books than women (internetretailer.com). Compare: "Women buy 68% of all books" (Publishersweekly.com)

Importance of book covers

A bookstore browser spends eight seconds looking at the front cover and 15 seconds looking at the back cover.

Sales reps give 14 second pitches.

The Potential for New Authors (www.bookpublishing.com)

81% of the population feel they have a book inside them.
27% would write fiction.
28% would write on personal development.
27% would write history, biography, etc.
20% would do a picture book, cookbook, etc.
6 million have written a manuscript.

How Many are Reading?

2002: 57% of the US population read a book.
2001: People in the U.S. read an average of over 14 books each year. (Gallup)
1997: 63% of adults report purchasing at least one book during the previous three-month period.
One third of high school graduates never read another book for the rest of their lives. (compare to "58% of the US adult population never reads another book after high school.")
People reduced their time reading between 1996 and 2001 to 2.1 hours per month. (Publishers Weekly)
2001: per capita spending on books per month was $7.18 (Publishers Weekly, May 26, 2003.)

27% of adult Americans (31% of Canadians) didn't read a single book for pleasure in 2007. (What about people who, like me, read voriously, but almost solely for information rather than pleasure? Would I have had to check the "not read one for pleasure" box? I suppose this tells us something about how many don't read novels.)

Of reading Americans and Canadians, most read more than 20 books per year. http://www.PublishersWeekly.com.

Self-Help Books

One in ten books sold are self-help. (Wall Street Journal, 1998)

BookStores

70% of Americans haven't visited a bookstore in five years. (www.LevinPR.com)

80% of books published by major publishers come through agents. (Michael Larsen)

70% of the books published do not make a profit. (Jerrold Jenkins)

Books are displayed in bookstores for one selling season of four months. If they don't sell by then, they are returned.

Industry return rate is 25 percent for paperback.

Book Reviews

LA Times receives 600 to 700 books for review each week. (Steve Wasserman, book review editor, www.latimes.com)

Government Grants to Publishers

Canadian government grants to publishers: $48 million. (Hmmm...I wonder how writers get into that money?)

The State of Traditional Publishing

Simon & Schuster president and CEO Carolyn Reidy addressed the Evangelical Christian Publisher's Association's CEO Symposium and Publishing University the first week in November. Some of her comments are enlightening and thought provoking. I'm pulling from an article at Publishers Weekly by Cindy Crosby: Reidy: Worse Publishing Environment May Be On the Way.

For several reasons (e.g., a terrible economy and new publishing options), traditional publishers are struggling.

Here's one significant snippet:

"brand name authors continuing to sell but 'everything else is far off normal levels.'"

That tells me that, at this point in history, traditional publishing is for top-selling authors. It may become more and more difficult to be a small fry author in traditional publishing. They're gonna stick with those authors (and bias their marketing dollars) to those who have already established themselves as brands. They'll likely take new authors who already have huge platforms.

Another thoughty statement:

"Reidy also wondered out loud that with self-publishing so easy, 'is it only a matter
of time before one of (the major authors) actually strikes out on his or her own?'"

Hmmm...sounds like they fear that when big-time authors realize how easy it is to bypass the big publishers, they will cut out the middle man and start getting 35% royalties on Amazon sales like those publishing through BookSurge.

Traditional publishers still have a lot to offer, but there are certainly lots of great alternatives out there to consider.

Getting Amazon Reviews

No author can ignore the incredible potential of Amazon sales. And one of the greatest things we can do to get more Amazon sales is to get more Amazon reviews.

Why? Because most of us take the reviews seriously. If I'm looking for book on, say, book marketing, and have to decide between two books, published the same year, with all things equal except that one has fifty reviews and the other two reviews, guess which one I tend to buy (if the reviews are decent, of course)? I assume that more are reading the book with more reviews. The less reviewed book seems like more of a risk.

Most authors apparently assume that getting reviews is a passive indeavor, as they wait for readers to post their comments. But the vast majority of readers don't write reviews. I see great books with only one or two reviews. Even if you love a book, do you generally write a review?

Knowing the importance of Amazon reviews, wise marketers find ways to encourage people to review their books. Thomas Nelson, a major publisher, does this through their "book review blogger" program. Here's their description:

"Any blogger can receive FREE copies of select Thomas Nelson products. In exchange, you must agree to read the book and post a 200-word review on your blog and on any consumer retail website."

Looks like they're buying first class ads at a bargain basement price.

Here's how I plan to do it. I sent an early draft of my latest book to about 30 friends and personal contacts to give me input before my final revision. Twenty-five of them read it. After my book comes out, I'll send a free copy to each of these people - a nice reward for their free editing. In an accompanying note, I'll say,

"Thanks so much for your help in making this a better book! There's no charge for the book, but would you do me one more favor by writing a candid review on Amazon? Here's where you'll find it (put the Amazon url here)."

Since they've already read the book, a review is a cinch.

You could do the same with your relatives, your writer's group, or your writer's association.

Breaking "The Distribution Code"

How will you distribute your book? Bookstores and libraries don't have time to order from tens of thousands of individual authors who sell from a stack of books in their basement. It's much more efficient for them to order from a small selection of wholesalers and distributors.

So how do you get with the right distributors so that your book has a chance to make it into the main places that sell books? Some of the answers are pretty straightforward and others a bit more tricky. Make sure you know precisely what you're getting into.

"Available" or "Available with Return Policy"?

One publisher said that they do an especially good job of making their books "available" in bookstores. Hmmm... "available?" What they may mean is that "it's available for any bookstore to order through a major wholesaler."

Just one problem with that set-up: if the wholesaler offers no return policy, then most bookstores won't order it except when a customer comes in and puts through a special order. Why? Because bookstores are used to having the option of returning books that don't sell and getting their money back. (Libraries, on the other hand, will order with no return policy.)

So, if it's important to you to get your books into bookstores, you'll want to make sure your publisher sets you up with the major wholesalers - Ingram and Baker & Taylor - with a return policy.

If you're going the print on demand route, Booksurge hooks you up with Baker & Taylor, while Lightning Source gets you with Ingram and Baker & Taylor. But check to make sure whether or not they're offering a return policy. If not, and if getting into bookstores is important to you (it's not important to everybody), you might need to pay extra to establish the policy.

On Getting a Distributor or Wholesaler

If you're with a major publisher, you're almost assuredly hooked up with both Baker & Taylor and Ingram with a return policy. If you're publishing yourself or with a small press, you need to find out how you're set up.

Ingram won't take books directly from any press that has published less than ten books. If your publisher is very new, or if you're self-published, you'll need to find a distributor that has a relationship with Ingram.

Comparing Distributors

Some distributors passively take orders. Others actively market your book and make personal calls to open up new distribution channels.

Some ask for exclusive rights to distribute your book. Let's say you're with Booksurge and excited about making 35% on each Amazon sale. Could signing an "exclusive" contract with a distributor require you to distribute to Amazon through your distributor, giving you a much smaller part of the action? (This week, I chatted with a representative of AtlasBooks, the largest distributor for small to mid-size publishers, who told me that although publishers sign an exclusive distribution contract with them, they allow BookSurge authors to keep their 35% from Amazon.)

Make sure you know exactly what you're getting in a distributor!

Here's an annotated list of select distributors from John Kremer:

http://www.bookmarket.com/distributors.htm

Ingram lists these distributors as having a relationship with them:

http://www.ingrambook.com/new/distributors.asp

Publicity Tips

Yesterday, I started reading Publicize Your Book! by Jacqueline Deval, a former publicity director of several publishing houses. She emphasizes that even if you have a traditional publisher with a marketing department, authors must market their books if they expect them to sell.

She begins by sharing the story of James Barron, who wrote a "funny and informative" book for expectant fathers. At the time of Deval's writing, Barron had 185,000 copies in print. How did he do it? A couple of things stood out to me:

1) "He stopped by specialty stores like maternity shops, toy shops, and hospital gift shops" to persuade them to order from his publisher and sell the book, giving them a sales order form. He even offered to buy back the books if they didn't sell, but never had to buy any back. Forty to 75 stores ordered, and many of these kept re-ordering.

2) He selected three cities to target: New York City (where he lived), Chicago (where he grew up), and Atlanta (where his wife was from). He hired publicists in Chicago and Atlanta to "set up media and book signings, as well as to go to the sames kinds of specialty stores as he did in New York." I'd never really thought of publicity people as being regional. But it makes sense that some publicists would have lots of regional relationships and know all the possible outlets.

He said, "I work under the assumption that I'm going to get twelve rejections for every yes."

I like that. If I find some success in alternative outlets and discover that one out of 10 will say yes, then it becomes a time and numbers game. If I contact 100 stores, I might get 10 stores taking me. I can wade through the rejections if they net me some decent sales. Cool!